Curating Conversations: Patricia Cariño Valdez ('10) on Berkeley, Art Consulting, and the Olivia Collection

August 28, 2024

Ashley Heng, Arts & Humanities Communications

Curators of Berkeley is a series of interviews with Berkeley alumni from a range of disciplines in the arts and humanities who work across curatorial practices and fields. Patricia Cariño Valdez is an art consultant, independent curator, and manager of the Olivia Collection.

Since you graduated from Berkeley's History of Art Program, you have worked as both a curator and programs director for museums and galleries, a collections manager, and an art consultant. What brought you to your curatorial practice, and what does that encompass?

My Interest in art took off during my time at Berkeley. The Berkeley Art Museum's imposing brutalist architecture [now retrofitted for the Bakar BioEngenuity Hub] and the thought-provoking exhibitions like one of my all-time favorite shows in 2008, Enrique Chagoya: Borderlandia, I encountered there inspired me to explore the field further. I didn't grow up with a family that attended museums, so I was fascinated by how these edifices could shape our understanding of history, community, and cultural values.

My unique background as a first-generation immigrant from a working-class family has influenced my perspective on art and culture—I've always wanted to understand how artists express complex experiences and challenge societal norms. This passion, combined with my desire to make art more accessible to diverse audiences, led me to pursue a career in curatorial work, which involves conducting research and studio visits, selecting and arranging artworks for an exhibition, writing interpretive texts, and collaborating with artists and other scholars. Since I didn't know any arts professionals growing up, I made it a point to work in different departments (fundraising, programming, events management) to learn and gain valuable skills. I knew that I loved working directly with artists — being able to help facilitate a vision, working through big ideas, and then bringing them to fruition was what I was good at, too.

Exhibitions are not just static displays of art but rather dynamic spaces for dialogue and engagement. By incorporating public programs and fostering collaborations with diverse communities, I aim to create immersive experiences that inspire new perspectives and challenge assumptions. For example, I presented Julia Goodman's three bodies of work at the San Jose Institute of Contemporary Art and curated a satellite exhibition at the Jewish Community Center of San Francisco. The program included a public program featuring an astronomer, Dr. Isabel Hawkins, at the Exploratorium and an urban gardener, which expanded our understanding of Goodman's themes of how we are all connected to each other, the earth, and the stars. It was a poetic show that also sparked further pathways of investigation for both the artist and scientists!

You have curated dozens of shows as a visiting or independent curator at renowned institutions. How do you approach these projects, and what is the process of working in new spaces or with new artists?

When curating exhibitions, I prioritize projects that address timely and relevant issues and are specific to the region/locale. I aim to create shows that spark meaningful conversations and contribute to ongoing cultural discourse.

One such exhibition was Super Sarap. In Filipino, the phrase conveys something incredibly delicious, an expression of excitement and affirmation. The show challenged the notion of "trending" cuisines and, to a larger extent, culture. I worked with Exhibitions and arts leader Erica Wall, who had a space in Santa Ana, CA, which then, after posting on Instagram, we were invited by Bridget Bray, curator of Asia Society, to travel to Houston, Texas, to their large exhibition hall. This was the first time the Asia Society in Texas worked with the Filipino community. I approach each project with a sense of openness and adaptability. By actively listening to artists, engaging with local communities, and considering the unique characteristics of each space, I want to make shows that resonate with audiences and contribute to the cultural landscape at large. When working in new spaces or with new artists, I take the time to understand the context and the unique qualities of the space or the artist's work. This allows me to create exhibitions that are not only visually appealing but also deeply connected to the space or the artist's vision.

Super Sarap at Asia Society Texas is the second iteration of Super Sarap,which started in Santa Ana in 2018. Curated by Patricia Cariño Valdez.

You are an art consultant and one of your projects is to manage the Olivia Collection and you just helped to launch the Olivia Foundation in Mexico City, which was named as one of the top destinations to visit in 2024 by Times Magazine. Can you fill us in on the collection and the foundation?

As an art consultant, I've had the opportunity to work with a diverse range of clients and collections. During the pandemic, folks reached out, wanting meaningful artwork in their homes, and shared their desire to learn more about arts and culture. People realized the importance of living with and investing in objects that meant something, supported communities they loved, and reflected their values. I love sharing and teaching people about artists and their works and it's a pleasure to help new collectors jumpstart their collections or established ones build a collecting strategy.

One of my most significant projects has been managing the Olivia Collection and supporting the launch of the Olivia Foundation in Mexico City. The Olivia Collection is a private collection focused on abstraction and has a strong representation of women artists and themes of femininity. I've been involved in various aspects of managing the collection, including acquisitions, managing crating and shipping, maintenance of works, and exhibition planning.

The Olivia Foundation is a remarkable initiative that aims to share a private collection with the public. The foundation's beautifully designed townhouse in Mexico City provides an intimate and engaging space for visitors to experience the art. It's a contrast to the white-walled gallery spaces we are used to. I'm really proud of my role in supporting the foundation's establishment and ensuring the successful presentation of the collection. It's been so rewarding to work on this. Not only have I had the opportunity to work closely with talented artists and curators like Diana Nawi, who is now at LACMA, but I've also gained valuable insights into the intricacies of managing private collections and planning exhibitions internationally. The foundation's launch was a significant milestone for me — I worked mostly in Spanish (however, I definitely felt like I should've enrolled in a language class at Berkeley!) and managed a new team at a newly built site. I'm excited to see how it will continue to contribute to the cultural landscape of Mexico City.

Installation view, Between Us, Olivia Foundation, Mexico City, 2024. Courtesy of Olivia Foundation. Photo: Sergio López.Between Us, Curated by Diana Nawi; Collection and Exhibiton Management by Patricia Cariño Valdez.

How do institutions create more equity and opportunities for those looking to enter the art world? What considerations should curators and organizations keep in mind when asking artists to work for them?

Creating a more equitable and inclusive art world requires a multifaceted approach. Institutions must prioritize building diverse teams, fostering mentorship opportunities, and advocating for fair compensation. As we know, a diverse staff and leadership allows for more perspectives and experiences, enabling innovation, growth and better reflects a larger public. Additionally, mentorship programs can provide guidance and support to emerging artists and professionals. I've personally benefited from the guidance and support of women of color in the field, and I believe that mentorship is a crucial element in shaping the future of the art world. It's not just about what we create, but also about how we support and nurture the next generation of artists and professionals.

It's also imperative for organizations to be transparent about their budget and ensure that artists and curators are fairly compensated for their work. I do my best to advocate for artists in my roles and am always happy to partner with organizations to think creatively about this and help fundraise. Let's provide artists with adequate support and resources to enable them to succeed.

There are systemic inequities within the art world. Consider: Which artists in your roster or exhibition schedule get the most funding, attention, and resources? Why do they get that attention? What are ways to shift this to support a more holistic program? A rising tide lifts all boats.

Finally, why was Berkeley a great place to study in preparation for your career?

I love Berkeley so much. I met my best friends there. I also met my husband at Cal. We spent a lot of time together in the ceramic and Art Practice studios. I also learned about my own culture through student-run organizations like the Pilipino-American Alliance. I also went to public school from K-12, so I was looking forward to meeting and learning with people from around the world.

I am particularly grateful for the mentorship and guidance from my professors. Dr. Leigh Raiford in African American Studies and Jennifer Wofford, UC Berkeley MFA alumna, and professor, played pivotal roles in shaping my understanding of the art world. They made it more expansive, showing me so many possibilities of existing in it and empowering me to build a world in which I and my peers want to thrive.

Art history provides a lens through which you can see the world: you become more porous and sensitive. Learning to appreciate every detail helps you slow down and be fully present. In the most nerdy way possible, seeing art and visiting cultural institutions is like time traveling. You're sitting where the artist was, and you can see their hand or a brush stroke, note the hundreds of decisions they made through color choice and layers of medium, and gain glimpses into their intuition.