Reclaiming Creative Agency in Domestic Spaces
A conversation with Garry Noland and Tanith K
The past few months have been a whirlwind for the art world. Massive cutback on funding, severe violation of the freedom of speech, blatant promotion of white supremacy and reinforcement of discriminative policies… As public and commercial spaces become more restrictive, I invited Garry Noland, owner of West Bottom’s beloved Holsum Project Space, and Tanith K, curator of Gallery Anthor, to chat about alternative art spaces and how we can reclaim creative agency amidst drawbacks and repercussion.
The idea of using domestic spaces as art galleries or creative hubs is seen throughout the history across different disciplines. The Parisian Literary Salons during the Enlightenment were critical spaces where writers, especially playwrights, would experiment, exchange ideas, or debut new work. Meanwhile, many president residents serve as galleries to display the owner’s ongoing art collection, such as the famous art salon of Gertrude Stein, or the legacy of the brilliant Herb and Dorothy Vogel, which inspired the exhibition, One Bedroom Apartment, at Gallery Bogart this March.
However, the idea of a domestic gallery space may still feel unfamiliar and thus, intimidating to most. In this conversation, Gallery and Tanith will tell you about the fascinating nature of domestic spaces, how they balance their own practice and the gallery space, their exposure to domestic spaces, how to get one started, and other experience they’ve had along this journey.
If losing NEA funding is the rock bottom, then maybe it’s time for us to start that project we’ve been sleeping on, and reclaim our creative agency with our own spaces.
Xiao (ATELIER): I feel like many people still aren’t the most familiar with the concept of a domestic space/domestic gallery. Can you give us a summary on what this is?
Tanith (Gallery Anthor): Sure! Domestic art space started in the south of England. From what I know, there is a town that’s just full of artist and everyone would do open studios. But that’s really just opening their home art to invite people in, to display art. They also host an annual festival and the entire block would be open. You can just walk into their homes. That’s kinda my understanding of where “domestic spaces” originated.
Xiao (ATELIER): That sounds awesome. What about yourself? What was your initial experience with this concept?
Tanith: On the coast, people would just turn their homes into galleries, whether it’s just a one night gallery for a party or a longer exhibition — I wanted to bring something like that to Kansas City. I cannot afford an entire building, but I had a home that was not being used in my home. I see a need for more spaces to show art, and I realized I can provide [such a space] at literally no extra cost. The room is already there. There’s no overhead. With how many spaces that have closed in recent years, I decided I can just do that. I can be a space.
Xiao: Garry, what about you?
Garry: I’ve actually been to three domestic spaces that used to be in Kansas City. It was like the Late Show. Tom Deatherage had a gallery in his house prior to the Crossroads location. That was as early as 2005 or 2006. Then, there was Dorry Gates Gallery in South plaza. I remember going in there in 1980s. Dorry would show professors, blue-chip, non-academic artists. Then, there was Jan Weiner Gallery in West Plaza. Their spaces remind me of Gallery Anthor. You would walk in, you’re in somebody’s house. You know that when you’re not there, the family is having mac n’ cheese. But then, there are all these artists around. It was a house gallery.
Xiao: Sounds like domestic spaces have definitely been around for a while in Kansas City. What do you think was the reason that those spaces kind of faded away? Because I definitely feel like, at least myself, as a younger artist, don’t hear as much about [domestic spaces].
Garry: Sometimes you just want to do something else. So the gallery would naturally go away until someone else, like Tanith here, decides to pick that idea back up.
Tanith: I also think there are external factors, too. I do always worry about theft, or insurance problems might come up, which would get expensive. Because it has been several years since the last iteration of [domestic space] that has happened. Post 9-11, everybody became really isolated: don’t come to my house, this is my sacred space — only come if you are invited — there are probably multiple facets. I agree many people don’t see running a domestic gallery as a “forever” thing. But what’s happening socially, culturally, economically has also pushed people to shut their doors. There are legit safety concerns.
Xiao: I’m glad you brought up safety concerns. I think it’s important, especially nowadays, to have this conversation. For you, what are some things visitors, arts lovers, participating artists even, can do to help make domestic space owners like you feel safer?
Tanith: I had a great conversation about this with the artists in my last show. Individually, if you told someone where the house was one-on-one, that’s not a big deal. But when we're posting publicly, we make sure to have people contact me directly, instead of just posting the address in a public forum. Even with a private instagram page, you really don’t know who’s looking. So I always say “DM for details,” things like that. It’s a lot less complicated than what many may imagine it being, but it is very tricky. I want people to come, but how do I make it happen? For me, I mostly rely on word-of-mouth.
Xiao: That makes sense.
Tanith: Yea, I go real old-school with it.
Xiao: That’s very smart, especially when the space is your home. Meanwhile, Garry, your space is more of a blend of public and private space. It’s your studio, but also public-facing. What’s your experience with that?
Garry: I treat the gallery as a personal part of my practice. Since the 1990s when I first moved my studio out of the house, we’d have an open studio project and I’d invite artists to participate. But it really became apparent to me what’s possible on a personal level when I had a studio in California for 3 years. There were a lot of artists around, and others were doing similar things where they’d incorporate an exhibition space within an artist’s studio, within the same confines of their studio practice. When I moved back to Kansas City in 2019 and found the space in the Holsum building, I thought immediately I could do that here, too. It’s not expensive. I lose some workspace, sure, but then I get to meet so many different artists. That exchange makes more things possible.
Xiao: It’s definitely about building a community and making spaces more accessible. Now, what are some challenges you have faced operating this type of gallery? Versus a traditional one.
Tanith: I think the biggest challenge for me is getting people to come. People sometimes feel uncomfortable because it’s my house. Especially in Kansas City, I think there’s this reluctance about going into a stranger’s house, even if you were invited to do so. But I’m happy to have you here, you know? Like what is it about this place that feels unsafe to you? Because my house is always a safe place. To counterbalance that, I put all my shows online so people can still see the work without physically coming to my place.
Xiao: Am I just gullible, cuz if you invite me and there’s art and good vibes, I’d come (lol). What about you, Garry? A lot of people still think of the West Bottoms as unsafe. That’s just a lingering narrative. How do you deal with that?
Garry: Honestly, every part of town is scary and we can’t hold onto that as an excuse about why people don’t show up. For the West Bottoms, it’s been scary since the 1700s, then there was the illicit Whiskey trade… you name it. Honestly, I don’t worry about the “reputation” of the neighborhood.
Tanith: I used to go to the Bottoms a lot in my 20s. People do still associate the Bottoms with filthiness, dirtiness, drugs, violence, etc. But I also think that’s the outside impression about anywhere artists live in and work at? Which honestly is quite the opposite.
Garry: So honestly, for me, the biggest challenge is not about people not wanting to come. It’s aobut how I don’t get too invovled myself. Because I still want to have my own practice and free time. I do not want the project space to become a job.
Xiao: You’re not a gallerist at the end of the day.
Garry: That’s why I don’t curate shows. Nor do I do press releases. I do the bare minimum and that’s why I take 0% commission.
Xiao: And the artists need to do their own work.
Garry: 100%.
Xiao: How has that been?
Garry: Perfect. I just tell artists that we’re partners in a way. I have the square footage, and you have the work. [The artist] just need to understand that. For the past 6 years this project has been going on, it’s been so easy. Sometimes people install their own show, sometimes I’d help.
Xiao: Tanith, what about you?
Tanith: I’m the complete opposite. I curate, I take photos, I jury, I write to people, etc. Because with my disability, I can’t work a full time job, so I have the time to make my gallery my job. I only do 3 shows a year, versus Garry who has shows monthly. So for me, it’s finding the balance act of what you want to do, because I see this as an extension of my practice. I exclusively only do group shows because curating is where my interest is in. There’s something really special with large group shows where conversations happen between so many different mediums and styles and people. It makes me happy doing that.
Xiao: Now, where do you see this, and I’m not just talking about your gallery but domestic spaces in general, where do you see this going?
Tanith: I think we’re really going to see a big comeback for domestic spaces or alternative spaces in Kansas City because traditional galleries aren’t really providing a lot of artists with what they need. I see my job as a curator is to facilitate culture, so I think curators will have a huge responsibility moving forward. Artists are like mirrors to the society and curators must present the mirrors in an ethical, important, and truthful way.
Xiao: And with restrictions in traditional institutions and galleries, for curators to ensure that ethics and truthfulness, they may end up creating their own spaces to for their projects to fully come to fruition.
Tanith: Yes. I’ve talked with a lot of other artists who’ve been thinking about putting an art space in their studio. And I always point them toward those who are already doing it. More is good. We’re not in competition against each other, but all working toward the same goal of showcasing more artists.
Xiao: Beautifully said. What other advice would you give artists who are wanting to give domestic spaces a shot?
Garry: A good example is this new organization, Third Pine Gallery. You really just have to decide that you’re going to do it. This might be new to you. But you’re going to learn along the way. The mere act of doing something is what’s really important here. And taking that action also sends the message to others that they can do this too.
Xiao: I love it.
Tanith: That’s always been my goal with my home gallery. I want to tell people “you can, and should do this too.” I think sometime we get stuck on perfection? Like if it’s not done perfectly then I’m not gonna do it at all. But just the part of doing it is so much more fulfilling than sitting here and be like… I wish I could.
Xiao: That’s so true. I can see some challenges with people renting apartments with the foot traffic, etc. But if you own or rent a private home and have a spare room or half a garage, there really is nothing stopping you from starting your own space.
Tanith: Right? And I’m sure there can be renter-friendly ways of displaying art and having openings, too. The point is, if you only have a tiny wall, then do a wall of tiny art. There are lots of different ways to visualize how to make things work. I also think it stems from a desire for connection. I started Gallery Anthor because I was really struggling to meet artists, so I decided I’ll just bring them to me.
Xiao: That’s so relatable.
Tanith: I’m in my 3rd year now. I think it’s just about investing in relationships and really listening to what the community is saying, so I can make a space that fulfills those needs. You actually get to connect with others.
Garry: One thing Tanith and I have in common is we really want to be an open avenue for artists. Right now, we are working on a joint project, which will be coming up in July. It’s a work in progress, and I’m grateful for that. Because the nature of a project is to not have everything exactly planned out. I freaking love that.