Janet McLean, curator of Modern Art at the National Gallery of Ireland, discusses the process of curating the upcoming exhibition "Picasso: From the Studio," the first major Picasso show in Ireland since a student-led exhibition in 1969. That earlier exhibition, held by Trinity students in a library storage room, attracted 42,000 visitors and featured 97 works by Picasso. McLean explains that curation is about creating connections and a "conversation" between pieces, balancing narrative with practical constraints like light levels, copyright, and lender approvals. The new exhibition, with a sole lender—the Musée National Picasso-Paris—traces Picasso's life in France from 1913 to 1973, showcasing his evolution as an artist.
This article matters because it offers an insider's perspective on the often invisible labor behind major museum exhibitions, highlighting the blend of artistic vision, negotiation, and technical problem-solving that curators navigate. It also underscores the historical significance of the 1969 student-organized Picasso show in Ireland, which set a precedent for ambitious curation by non-professionals. McLean's reflections on reduction, rhythm, and "breathing space" in exhibition design provide valuable insight into how museums shape audience experience and maintain fidelity to an artist's spirit.