If you don’t know where you’re
going, how do you know when
you get there?
If you don’t know where you’re
going, then it is...
briefing
STEW
• STEW
– Creating work - issues
– Publicity – on its way
– Hanging – Fixings - meaning
hanging
pin
pin - 2
tack
nail
srew
bolt
clip
peg
hook
tape
thread
coat hanger
manikin
table
furniture
shelf
case
plinth
corner
layout
specifics
background
prop
magic
hang
setting up
testing
reflection
professional practice
role
what is your job?
what do you do?
goals
know what you want
visibility
let people know that you exist
illustrate activity
advertise your activities past – present – future
share – gi...
visibility
Showing work
Giving work in progress a title
Working with people (residency)
The e-mail
Printed Material
Applic...
networks
what systems/networks do you use now?
who do you know?
the network
(as exchange) Write down everyone you know
professionally. Tutors / peers / galleries /
curators / writers / p...
network
now identify who you would like to work with
(remember working with someone is an
exchange). If you would like to ...
investment and returns
how do you measure success?
how many shows/projects/collections do you
want to do a year?
will they...
identifying goals
(direction and progression). Identify key areas in
which you would like to develop - exhibitions / artis...
taking or leaving opportunities

Consider the following
Is it appropriate?
How much time do I have?
How much money will it...
applications and opportunities
• Be selective - avoid the scatter approach - focus on your aims and
goals. It’s not advisa...
the artist statement
(as sorting process). statements are required for
applications, feed into funding proposals, and
are ...
the artist statement
write a draft - you could start by identifying 10
keywords and building from there. asking a
colleagu...
the “elevator pitch”
compose a single sentence that sums up who
you are and where you want to get.
the 30 second CV
just as you can develop a minimalist CV
highlighting your key points to whet an
employer's appetite or at...
connections
keep notes of meetings
personal database and mailing lists
use and build
digital tools
blog
databases – appropriate?
online portfolios
social networks – appropriate?
website
forums – appropriate?
www.blogger.com
www.wordpress.com
www.jotta.com
http://www.artsthread.com/
http://www.artindustri.com
www.artshole.co.uk
www.dedsignscouch.org
www.prospects.ac.uk
www.axisweb.org
www.a-n.co.uk
http://www.a-n.co.uk/jobs_and_opps/shortcut/article/92660
http://www.an.co.uk/jobs_and_opps/shortcut/article/345238
http://www.an.co.uk/jobs_and_opps/shortcut/article/168331
http://www.ning.com/
www.shop.ebay.co.uk
physical tools
CV
business card
portfolio
images/statements
CV’s and statements
see Artquest www.artquest.org.uk it has
information about ‘how to create a CV’. Also
look at artist’s ...
paperwork
there is inevitably lots of paperwork being self
employed as many artists are. financial,
correspondence, applic...
expectations of people
Personal artistic skills
Creative expertise
Flexibility Initiative
Communication skills

Experience...
How to make yourself visible
Know your audience
Make contact
Have clear marketing tools and be honest
Project a positive i...
Following up
This needs to be done regularly, if you take the
trouble to send a proposal/application/information,
make sur...
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a presentation given to textile design students at nua

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008 stew hanging briefing 10 02 14

  1. 1. If you don’t know where you’re going, how do you know when you get there? If you don’t know where you’re going, then it is best to surround a problem in order to solve it. If you don’t know where you’re going, then any road will get you there.
  2. 2. briefing
  3. 3. STEW
  4. 4. • STEW – Creating work - issues – Publicity – on its way – Hanging – Fixings - meaning
  5. 5. hanging
  6. 6. pin
  7. 7. pin - 2
  8. 8. tack
  9. 9. nail
  10. 10. srew
  11. 11. bolt
  12. 12. clip
  13. 13. peg
  14. 14. hook
  15. 15. tape
  16. 16. thread
  17. 17. coat hanger
  18. 18. manikin
  19. 19. table
  20. 20. furniture
  21. 21. shelf
  22. 22. case
  23. 23. plinth
  24. 24. corner
  25. 25. layout
  26. 26. specifics
  27. 27. background
  28. 28. prop
  29. 29. magic
  30. 30. hang
  31. 31. setting up
  32. 32. testing
  33. 33. reflection
  34. 34. professional practice
  35. 35. role what is your job? what do you do?
  36. 36. goals know what you want
  37. 37. visibility let people know that you exist illustrate activity advertise your activities past – present – future share – give to get
  38. 38. visibility Showing work Giving work in progress a title Working with people (residency) The e-mail Printed Material Applications (selection panels) Catalogues/books Portfolio sessions Personal websites Collective websites e.g. Axisweb Press releases Blogs
  39. 39. networks what systems/networks do you use now? who do you know?
  40. 40. the network (as exchange) Write down everyone you know professionally. Tutors / peers / galleries / curators / writers / people you have exhibited with / discussed your work with ....also friends and relatives if appropriate
  41. 41. network now identify who you would like to work with (remember working with someone is an exchange). If you would like to work with a curator - which one? books/fine art/photography/..... If you would like to work with a gallery which one(s).....This can form part of your mailing list for your exhibition.
  42. 42. investment and returns how do you measure success? how many shows/projects/collections do you want to do a year? will they get progressively bigger/push boundaries/increase your visibility?
  43. 43. identifying goals (direction and progression). Identify key areas in which you would like to develop - exhibitions / artist talks / publicity / application success rate / number of projects each year / regional - national international / financial goals also - mixed economy / workshops / teaching / also further study / travel / creative development / funding application.
  44. 44. taking or leaving opportunities Consider the following Is it appropriate? How much time do I have? How much money will it cost? Is there an artist / designer fee? Who will see/experience it? Reviews likely? (Is this one of my aims?) Will it lead to anything else? What can I contribute / gain?
  45. 45. applications and opportunities • Be selective - avoid the scatter approach - focus on your aims and goals. It’s not advisable to stretch your practice to ‘fit’ opportunities, applications or to fit funding criteria. Look around for something more appropriate. • Where to find things - publications such as AN, also Axisweb if you are a member has opportunities, Artquest and individual gallery websites • Consider a mixture of self initiated and opportunity applications. Self initiated projects you will likely need to finance yourself or make funding applications. Opportunities often already have the funding secured.
  46. 46. the artist statement (as sorting process). statements are required for applications, feed into funding proposals, and are available in exhibitions and projects, on blogs, web-sites.
  47. 47. the artist statement write a draft - you could start by identifying 10 keywords and building from there. asking a colleague to say what they think your practice is about can be useful and illuminating way to start. anywhere from 100-500 words usually.
  48. 48. the “elevator pitch” compose a single sentence that sums up who you are and where you want to get.
  49. 49. the 30 second CV just as you can develop a minimalist CV highlighting your key points to whet an employer's appetite or attract a funder, it is also useful to have a verbal version of this type of CV to communicate key points.
  50. 50. connections keep notes of meetings personal database and mailing lists use and build
  51. 51. digital tools blog databases – appropriate? online portfolios social networks – appropriate? website forums – appropriate?
  52. 52. www.blogger.com
  53. 53. www.wordpress.com
  54. 54. www.jotta.com
  55. 55. http://www.artsthread.com/
  56. 56. http://www.artindustri.com
  57. 57. www.artshole.co.uk
  58. 58. www.dedsignscouch.org
  59. 59. www.prospects.ac.uk
  60. 60. www.axisweb.org
  61. 61. www.a-n.co.uk
  62. 62. http://www.a-n.co.uk/jobs_and_opps/shortcut/article/92660
  63. 63. http://www.an.co.uk/jobs_and_opps/shortcut/article/345238
  64. 64. http://www.an.co.uk/jobs_and_opps/shortcut/article/168331
  65. 65. http://www.ning.com/
  66. 66. www.shop.ebay.co.uk
  67. 67. physical tools CV business card portfolio images/statements
  68. 68. CV’s and statements see Artquest www.artquest.org.uk it has information about ‘how to create a CV’. Also look at artist’s websites; axis has a particular layout in terms of headings etc. expect to be writing (or changing) your CV and statement for each application or opportunity.
  69. 69. paperwork there is inevitably lots of paperwork being self employed as many artists are. financial, correspondence, applications, your own image banks etc. all need to have some kind of order so you can locate things and manage the volume that will accumulate over your professional careers.
  70. 70. expectations of people Personal artistic skills Creative expertise Flexibility Initiative Communication skills Experience Enthusiasm Commitment Reliability
  71. 71. How to make yourself visible Know your audience Make contact Have clear marketing tools and be honest Project a positive image Provide strong references Show your initiative/independence Be aware of the competition
  72. 72. Following up This needs to be done regularly, if you take the trouble to send a proposal/application/information, make sure you follow it up. You can use your follow up contact to let them know about any developments in the project you are proposing (for example) or other exhibiting or professional activities. If someone consistently fails to get back to you, perhaps you don’t want to work with them.

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