The chapter goes into more detail about what should be added into the site and other ideas about display and that sort of thing.
Here's a great example of Martin Parr's Website.
Thursday, March 31, 2011
Chapter 9 Blog
Chapter 9 goes in depth about having an 'online presence' in todays world. The author says that it's not a matter of if you should or should not put your artwork online, it's a matter of how it should be done. It's very important to be online nowadays because the internet and cyberspace is the best place and easiest way to communicate. There are a few different ways to go about this. You can join an existing group website, use a web template, or just create your own site. Almost all artists, whether famous or not, have a website of their own for their artwork now. I think that would be one of the most effective ways of getting out there, but probably not the easiest. The nice thing about having your own website is that you can have full and total control about how the site looks and how your work is presented.
Monday, March 28, 2011
Ch. 7 Blog Post
Chapter 7 is all about finding spaces for an exhibition if you decide you want to start one. There's also a nice checklist/timeline to look at to help you get started and to guide you. It's probably best to think small at first, and work your way up from there. Any place you can get your artwork shown is good. The more people that see your stuff, the better. Any publicity with it will only help you in the long run.
This chapter also helps with press releases and such to get your art show off the ground.
Ch. 6 Blog Post
Chapter six talks about the importance of keeping organized and getting a system going for yourself if you can't afford to make your own private office. You need to make sure you document everything you are doing. If you send art out, make sure you write down where it goes and everything that comes in as well. Keeping organized and on top of things is the key to being successful. If you can't keep organized very well, maybe hire someone to do it for you.
I guess the summary of the chapter for the most part is just keep records of everything, write everything down, and stay organized. That'll be one of the many keys to your success.
Thursday, March 24, 2011
Chapter Eight
Chapter Eight
Making connections is your way of getting the word out about your work, getting people to your shows and selling your work. As the saying goes, it is who you know.
Key is being genuine, maintain a pure heart, it will attract the right people to you and soon your circles will grow.
Another way to grow your circles is to take your work to a new city in search of new opportunities. There are three approaches you can then take: the Best Way, visit the city of your choice go on a scouting mission to it, make a list of exhibition spaces return home write letters to all of them, then return a month later with your work. The Second Best Way is skip the scouting trip. The down fall being you will end up showing your work where it may not be appropriate but on the up side you save on travel expense in one trip. The Still Okay Plan is to skip the travel, you won’t see the exhibition spaces therefore harder to decide where you’d like you work displayed and it will be harder to bond in relationships so use the phone as much as possible. But this is still an okay plan.
Reality is nothing but a collective hunch. Lily Tomlin
During your scouting trip take the opportunity to interact with the staff of galleries. Introduce yourself and ask their name, talk about works you like, ask about approaching the gallery for a show, mention you’d like to send a packet and ask who it should be addressed to. Be sure to carry with slides or a CD on the chance they ask to see your work then. Be sure to the courtesy of showing as much interest in the gallery by looking around as you would like them to show you in your work.
When you return from your trip send out thank yous on color post cards of your work to all those you had real interactions with. Mention you were in the gallery and what you spoke to them about and that per their suggestion you are sending them you packet.
When choosing lodging for your trip make it somewhere centrally located. You will be exhausted, be sure it is somewhere you can relax. Sharing the trip with another artist could be a good option.
A handcart that you can strap your portfolio to is a great tool to have while going from gallery to gallery. Choose a portfolio to protect your art that is easy to open and show your work. Place your best work first to capture attention. Your portfolio should carry 15 to 20 pieces.
Always be nice to those younger than you, because they are the ones who will be writing about you. Cyril Connolly
Carry your laptop with you and methodical keep track of all your appointments.
A cell phone is a must. Start making appointments.
No one can make you feel inferior without your consent. Eleanor Roosevelt
Rehearse showing your portfolio on friends, formulate questions to answer.
Another way to make connections is to volunteer at nonprofits art spaces, museums or art galleries.
Attend gallery openings, rub elbows, and mingle.
Use family and friends connections.
Apply for a residency at an art gallery.
Become an art writer.
Enthusiasm is the electricity of life. How do you get it? You act enthusiastic until you make it a habit. Gordon Parks
Making connections is your way of getting the word out about your work, getting people to your shows and selling your work. As the saying goes, it is who you know.
Key is being genuine, maintain a pure heart, it will attract the right people to you and soon your circles will grow.
Another way to grow your circles is to take your work to a new city in search of new opportunities. There are three approaches you can then take: the Best Way, visit the city of your choice go on a scouting mission to it, make a list of exhibition spaces return home write letters to all of them, then return a month later with your work. The Second Best Way is skip the scouting trip. The down fall being you will end up showing your work where it may not be appropriate but on the up side you save on travel expense in one trip. The Still Okay Plan is to skip the travel, you won’t see the exhibition spaces therefore harder to decide where you’d like you work displayed and it will be harder to bond in relationships so use the phone as much as possible. But this is still an okay plan.
Reality is nothing but a collective hunch. Lily Tomlin
During your scouting trip take the opportunity to interact with the staff of galleries. Introduce yourself and ask their name, talk about works you like, ask about approaching the gallery for a show, mention you’d like to send a packet and ask who it should be addressed to. Be sure to carry with slides or a CD on the chance they ask to see your work then. Be sure to the courtesy of showing as much interest in the gallery by looking around as you would like them to show you in your work.
When you return from your trip send out thank yous on color post cards of your work to all those you had real interactions with. Mention you were in the gallery and what you spoke to them about and that per their suggestion you are sending them you packet.
When choosing lodging for your trip make it somewhere centrally located. You will be exhausted, be sure it is somewhere you can relax. Sharing the trip with another artist could be a good option.
A handcart that you can strap your portfolio to is a great tool to have while going from gallery to gallery. Choose a portfolio to protect your art that is easy to open and show your work. Place your best work first to capture attention. Your portfolio should carry 15 to 20 pieces.
Always be nice to those younger than you, because they are the ones who will be writing about you. Cyril Connolly
Carry your laptop with you and methodical keep track of all your appointments.
A cell phone is a must. Start making appointments.
No one can make you feel inferior without your consent. Eleanor Roosevelt
Rehearse showing your portfolio on friends, formulate questions to answer.
Another way to make connections is to volunteer at nonprofits art spaces, museums or art galleries.
Attend gallery openings, rub elbows, and mingle.
Use family and friends connections.
Apply for a residency at an art gallery.
Become an art writer.
Enthusiasm is the electricity of life. How do you get it? You act enthusiastic until you make it a habit. Gordon Parks
Chapter 8 is about knowing people. The saying is its not what you know its who you know. In the beginning it talks about going into a new town, it tells you what you need to do to meet people. Such as find what galleries in the area and what kinda of art are in the galleries. It kinda a seems to be that you kind act like a tourist for a bit until you know what is what about that town. Its a really compelling chapter that tells you what to do. Its really helpful for when I move to a new place. This is another chapter that I will come back to again and again. The stuff that is helpful now is the stuff about getting your name out when you are not going to another place. I am going to start and going to all of the gallery openings and all of the exhibitions that are going in town. One thing that would be fun if I was a better writer, I would become an art writer. That would be an awesome job.
Chapter Seven
Staging an Art Exhibition
• Planning and creating your own exhibition is a brilliant way to introduce yourself to the public as an artist.
• Decide whether to make it a solo show or a group event.
• Group Show Tasks
1. Show Coordinator
2. Installation Chairperson
3. Written Materials Coordinator
4. Reception Coordinator
5. Announcement Designer
6. Press Release Committee
• From the experience of planning your own show you will gain skills in all aspects that go into the putting on and publicizing a show.
• Find a space to present your show; don’t limit your self to coffee shops or other venues that already have exhibition programs. Search you community for places with large vacant walls, the uniqueness of a location could add intrigue to your exhibition.
• Be gracious and amicable in dealing with those you choice to convince to use the wall space. Be sure to bring visuals of your work for their viewing. Let them know much you would like to display your art in their space.
• Try to ensure your exhibit hangs for six weeks to allow plenty of time for the publicity to take effect.
• Have your reception at the beginning of the show, allowing for people to return and view again.
• The more specific and interesting the title of the show the more people that is likely to come to it.
• A group title could be trickier to develop. Working with artist with similar styles could make it easier.
• And the trouble is, if you don’t risk anything, you risk even more. Erica Jong
• Assign tasks:
1. Create a buzz for the show
2. Create a press packet
3. Write a press release and plan how to send it out
4. Design announcements
5. Work with a printer/cost of printing
6. Mail/email announcements
7. Frame your art
8. Plan hanging your show
9. Plan the reception
10. Plan your actions at your opening
11. During the show
12. When it is all over
• Imagination is more important than knowledge. Albert Einstein
• The best way to have a good idea is to have a lot of ideas. Linus Pauling
• Planning and creating your own exhibition is a brilliant way to introduce yourself to the public as an artist.
• Decide whether to make it a solo show or a group event.
• Group Show Tasks
1. Show Coordinator
2. Installation Chairperson
3. Written Materials Coordinator
4. Reception Coordinator
5. Announcement Designer
6. Press Release Committee
• From the experience of planning your own show you will gain skills in all aspects that go into the putting on and publicizing a show.
• Find a space to present your show; don’t limit your self to coffee shops or other venues that already have exhibition programs. Search you community for places with large vacant walls, the uniqueness of a location could add intrigue to your exhibition.
• Be gracious and amicable in dealing with those you choice to convince to use the wall space. Be sure to bring visuals of your work for their viewing. Let them know much you would like to display your art in their space.
• Try to ensure your exhibit hangs for six weeks to allow plenty of time for the publicity to take effect.
• Have your reception at the beginning of the show, allowing for people to return and view again.
• The more specific and interesting the title of the show the more people that is likely to come to it.
• A group title could be trickier to develop. Working with artist with similar styles could make it easier.
• And the trouble is, if you don’t risk anything, you risk even more. Erica Jong
• Assign tasks:
1. Create a buzz for the show
2. Create a press packet
3. Write a press release and plan how to send it out
4. Design announcements
5. Work with a printer/cost of printing
6. Mail/email announcements
7. Frame your art
8. Plan hanging your show
9. Plan the reception
10. Plan your actions at your opening
11. During the show
12. When it is all over
• Imagination is more important than knowledge. Albert Einstein
• The best way to have a good idea is to have a lot of ideas. Linus Pauling
Thursday, March 3, 2011
Chapter Seven
Chapter seven
Staging an Art Exhibition
• Conceiving & producing your own exhibition is an excellent way to enter public life as an artist
• You will learn to plan, mount, and publicize a show & develop an understanding of the amount of work involved & what needs to be attended to when
• A successful exhibition can bring art to a larger audience, improve the neighborhood, and provide quite an adrenaline rush for you
• You must decide whether to put on a solo exhibition or include other artists
• A one person show looks better on a resume but a group show attracts more people
• Regardless of the style of the exhibition you decide upon, planning ahead will be the key to your success
• Any building with empty walls is a good candidate to hold your exhibition
• Begin with public spaces, like cafes & government buildings that already have exhibition programs in place
• When approaching the owner of a space be friendly and businesslike
• Bring slides of at least some of the artwork that will be shown, to give them a visual cue
• You may gain a lot by telling them how much you would like your art to be shown in their gallery
• When looking for a space not usually used for galleries be sure to consider & discuss with the owner how the work will be hung on the wall
• The traditional length for an exhibition is one month, but six weeks is better
• Allow plenty of time for publicity
• Group show tasks include: show coordinator, instillation chairperson, written materials coordinator, reception coordinator, announcement coordinator, press release committee
• Planning ahead is essential, no matter how many helpers you have
• Publicity should begin almost the moment the show is conceived
• When creating the press packet some will want it electronically and some will want a paper version
• Your press packet should include: a press release, a bio, a statement, reviews(if any), your website, and images of your art
• The press release should be written follow a standard form that should not be deviated from
• The costs of announcements can be pricey, the cheapest way is to do it yourself
• The main purpose of the announcements is to entice people to attend the reception , and or exhibition when its running
• Mail announcement two weeks the opening of the show, allowing the receiver enough time to plan for the event
• Emailing announcement is another option
• The frame should never take away from the piece, unless it is part of the piece
• A fair way to decide wall space when dealing with sharing space, is to calculate the total amount of wall space and divide it evenly
• On the day of instillation all aspects of the piece should be complete and it should be ready to be hung
• At the reception alcoholic as well as nonalcoholic beverages are common, Avoid serving messy foods
• Arrive early & plan to stay until the end, people are coming to see you , be there
• Be friendly to people you don’t know
• Don’t hide, or stay too close to friends if you are shy
• Help other artists, if you see someone looking at another artists work go over and tell them a little about the artist
• Once the show is over check the walls for dents, scrapes, holes, or any other damage
• You will be expected to return the space to the condition in which you received it
Staging an Art Exhibition
• Conceiving & producing your own exhibition is an excellent way to enter public life as an artist
• You will learn to plan, mount, and publicize a show & develop an understanding of the amount of work involved & what needs to be attended to when
• A successful exhibition can bring art to a larger audience, improve the neighborhood, and provide quite an adrenaline rush for you
• You must decide whether to put on a solo exhibition or include other artists
• A one person show looks better on a resume but a group show attracts more people
• Regardless of the style of the exhibition you decide upon, planning ahead will be the key to your success
• Any building with empty walls is a good candidate to hold your exhibition
• Begin with public spaces, like cafes & government buildings that already have exhibition programs in place
• When approaching the owner of a space be friendly and businesslike
• Bring slides of at least some of the artwork that will be shown, to give them a visual cue
• You may gain a lot by telling them how much you would like your art to be shown in their gallery
• When looking for a space not usually used for galleries be sure to consider & discuss with the owner how the work will be hung on the wall
• The traditional length for an exhibition is one month, but six weeks is better
• Allow plenty of time for publicity
• Group show tasks include: show coordinator, instillation chairperson, written materials coordinator, reception coordinator, announcement coordinator, press release committee
• Planning ahead is essential, no matter how many helpers you have
• Publicity should begin almost the moment the show is conceived
• When creating the press packet some will want it electronically and some will want a paper version
• Your press packet should include: a press release, a bio, a statement, reviews(if any), your website, and images of your art
• The press release should be written follow a standard form that should not be deviated from
• The costs of announcements can be pricey, the cheapest way is to do it yourself
• The main purpose of the announcements is to entice people to attend the reception , and or exhibition when its running
• Mail announcement two weeks the opening of the show, allowing the receiver enough time to plan for the event
• Emailing announcement is another option
• The frame should never take away from the piece, unless it is part of the piece
• A fair way to decide wall space when dealing with sharing space, is to calculate the total amount of wall space and divide it evenly
• On the day of instillation all aspects of the piece should be complete and it should be ready to be hung
• At the reception alcoholic as well as nonalcoholic beverages are common, Avoid serving messy foods
• Arrive early & plan to stay until the end, people are coming to see you , be there
• Be friendly to people you don’t know
• Don’t hide, or stay too close to friends if you are shy
• Help other artists, if you see someone looking at another artists work go over and tell them a little about the artist
• Once the show is over check the walls for dents, scrapes, holes, or any other damage
• You will be expected to return the space to the condition in which you received it
Chapter 7,
This chapter was really helpful. The check list was really good. The whole chapter had tips of everything that would every need to do for a solo exhibition, or a group exhibition. From the choosing a date. When doing so thinking of all of the people that are involved in that desiccation. Title of your exhibition seems important. The printing advise seems like a good idea, I'm sure that Brian will have some good ideas for us on that. We had already talked about hanging out art and its all kinda straight forward now that we know about it. The part of the reception seems really straight forward as well. It seems anyone who thought about there reception would think of the right thing to do and if you didn't do what the book did even with out reading the book would not make it. if you are not nice to the people who are there or no one will like and then not buy our art.
This chapter was really helpful. The check list was really good. The whole chapter had tips of everything that would every need to do for a solo exhibition, or a group exhibition. From the choosing a date. When doing so thinking of all of the people that are involved in that desiccation. Title of your exhibition seems important. The printing advise seems like a good idea, I'm sure that Brian will have some good ideas for us on that. We had already talked about hanging out art and its all kinda straight forward now that we know about it. The part of the reception seems really straight forward as well. It seems anyone who thought about there reception would think of the right thing to do and if you didn't do what the book did even with out reading the book would not make it. if you are not nice to the people who are there or no one will like and then not buy our art.
Chapter 8 Blog Post
Chapter 8 talks about the importance of making connections with people. By this, they mean that it's important to network with other people. This helps your art get circulated more. The more people you connect with, the more people that can help spread your artwork around. That means more people will see it (if they like it and share it with others). You also have to present yourself well. People don't want to associate with someone that comes off as needy or a hustler either.
The chapter goes more in depth about how to circulate your work around and how to submit art to galleries, and then follow up with them to see what they thought, instead of making an embarrasing trip all the way there just to get shot down.
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