This document provides guidance for artists preparing for an artist portfolio review. It recommends setting clear objectives for the review, carefully editing your portfolio down to 20 high-quality pieces with a cohesive theme, and professionally presenting your work and supplemental materials like CVs, statements, and proposals. During the review, actively listen to feedback and take thorough notes to reflect on later. Follow up with a thank you and continue engaging with reviewers who express interest in your work.
Business Benefits of Improving the Internal Customer ExperienceCloud Sherpas
It's time to start thinking about everyone in your company as internal customers, not just employees. All employees obtain services from other departments, and just like with external customers, their experience obtaining these services matters. In fact, improving this internal experience can lead to four key business benefits.
https://bloomerang.co/resources/webinars
Tammy Zonker will teach you about the five donor love languages and how to speak the love language your donor prefers; radically improving your donor retention rates.
Business Benefits of Improving the Internal Customer ExperienceCloud Sherpas
It's time to start thinking about everyone in your company as internal customers, not just employees. All employees obtain services from other departments, and just like with external customers, their experience obtaining these services matters. In fact, improving this internal experience can lead to four key business benefits.
https://bloomerang.co/resources/webinars
Tammy Zonker will teach you about the five donor love languages and how to speak the love language your donor prefers; radically improving your donor retention rates.
9 Professional Phone Greetings for Your BusinessTalkdeskInc
https://www.talkdesk.com/resources/webinars/
Is your business putting its best foot forward? Here are 9 professional phone greetings and voicemail to use to be more clear, concise and professional when communication with your customers.
Best used for customer service and customer support teams.
12 Customer Service Phrases You Can Never Go Wrong WithServetel
The quality of your customer service delivery is either a deal-breaker or maker. Here are 12 customer service phrases that will help you provide an excellent customer service for your business.
A presentation of Exhibition design ideas from Template Marketing and Design Ltd. Includes case studies from Finnforest Exhibitions at Glee, Ecobuild and BSEC. Berol at the Education show and Wolseley at Installer Live and Hip!Ex
9 Professional Phone Greetings for Your BusinessTalkdeskInc
https://www.talkdesk.com/resources/webinars/
Is your business putting its best foot forward? Here are 9 professional phone greetings and voicemail to use to be more clear, concise and professional when communication with your customers.
Best used for customer service and customer support teams.
12 Customer Service Phrases You Can Never Go Wrong WithServetel
The quality of your customer service delivery is either a deal-breaker or maker. Here are 12 customer service phrases that will help you provide an excellent customer service for your business.
A presentation of Exhibition design ideas from Template Marketing and Design Ltd. Includes case studies from Finnforest Exhibitions at Glee, Ecobuild and BSEC. Berol at the Education show and Wolseley at Installer Live and Hip!Ex
This collection of work includes samples of designs and executions which accomplished the objectives of a variety of clients... individuals, large and small businesses, major corporations, non-profit,
civic and government organizations.
Karlyn Borysenko and I discuss the elements of putting together an impactful presentation and how to submit them to conferences.
Originally presented at Penn State Web - updated and reshared at HighEdWeb 2016 in Memphis Tennessee.
I contacted Leslie Thomas about her Darfur Darfur Photo Exhibit because I wanted to bring it to Spain. In order to do so, I wrote this project proposal in English and in Spanish. This was circulated to a lot of organizations throughout Spain. My initial idea was to have multiple cities show this exhibit within a similar time-frame; like throughout a month period or so. However, because the investment to show this exhibit was between $15,000-30,000 it was difficult to find organizations interested in supporting this project. Luckily, with the help of ACNUR, the Photo exhibit was shown in three different cities in Spain (Valencia, Madrid, and Bilbao).
This slideshare is a limited portfolio of my work as a graphic artist. It includes pieces from various TV series, films and commercials filmed in Melbourne as well as my work for corporate clients in logo, branding and promotional collateral. Much of my recent work cannot yet be displayed until certain programs go to air. This portfolio is only a small percentage of what I have created over the past 3 years, if you would like to review more please contact me.
Francisco Zuniga el gran escultor de Nuestra Americabrujul
Slide presentation of the work of the great sculptor Francisco Zuniga. From his beginnings in his native Costa Rica to his final work in his new home Mexico.
Select a museumI have already went to the Museum the work selecte.docxzenobiakeeney
Select a museum:
I have already went to the Museum the work selected is The cradle by John Biggers please see photos attached.
Select a work of art:
This is a general suggestion and not a required outline.
Identification:
At the museum or museum site, select a work of art. You may select a piece that you like or dislike. Copy down all the information provided; Artist, title, medium, year, etc. Write down your initial responses. How do you respond to the work? Does it invoke an emotional response? What do you think the artist was trying to communicate? It is helpful to bring a notebook to record your responses.
Describe
the piece and review it carefully. What do you see? Note all the details about the work. How would you describe it to someone you were talking to on the phone who can’t see it?
Analyze
the visual elements and design principles as you did in the short paper. Think about the relationship between form, content and subject matter in your analysis. This will be helpful in your 'interpretation' of the work. Use the terminology you have learned in class, particularly terms in Chapters 2 -5. Your analysis should be based your own observations while viewing the work.
Interpretation
Follow your analysis with a subjective interpretation of the meaning of the work. How does the work make you feel? What do you think the content is? Go beyond “I like it” or “I don’t like it.”
Research
the artist. Historical and biographical information on the artist often provides clues into a works intended meaning. Carefully consider the purpose and context of the piece. Did the piece you selected have any particular political or cultural message? Was the artist making a statement?
Value Judgement
What do you think the artist's intentions were? Was this communicated? Does it have value? Can you recognize the aesthetic quality in the work?
Write the Final Paper:
The following will help you write your paper. It should be used as a guideline, not an outline for approaching your paper. This is very similar to the process used by art critics.
Identification:
Note the title of the work, the date, the artist (if known), medium, and size.
Description:
What do you see? As fully as possible, describe what you see.
What medium is used? What is it made of?
How big is it?
Go into detail about what you see. How would you describe it, in detail, to someone who had never seen it?
What subjects are represented?
It can be helpful to begin looking at a work of art from the middle and work your way out.
Analysis:
Describe the form of the work Explain how visual elements and principles of design are used in the work. The terms in chapters 2, 3 & 4 will be very helpful. Go back and look at the chapter outlines or Short Paper assignment. Use them to:
Describe the use of visual elements such as line, shape, color & space used in the pieces. For example: In what way is it balanced? Is it asymmetrical or symmetrical? What is emphasized? What seems to be the dominating vi.
Select a museumI have already went to the Museum the work selecte.docxnicolleszkyj
Select a museum:
I have already went to the Museum the work selected is The cradle by John Biggers please see photos attached.
Select a work of art:
This is a general suggestion and not a required outline.
Identification:
At the museum or museum site, select a work of art. You may select a piece that you like or dislike. Copy down all the information provided; Artist, title, medium, year, etc. Write down your initial responses. How do you respond to the work? Does it invoke an emotional response? What do you think the artist was trying to communicate? It is helpful to bring a notebook to record your responses.
Describe
the piece and review it carefully. What do you see? Note all the details about the work. How would you describe it to someone you were talking to on the phone who can’t see it?
Analyze
the visual elements and design principles as you did in the short paper. Think about the relationship between form, content and subject matter in your analysis. This will be helpful in your 'interpretation' of the work. Use the terminology you have learned in class, particularly terms in Chapters 2 -5. Your analysis should be based your own observations while viewing the work.
Interpretation
Follow your analysis with a subjective interpretation of the meaning of the work. How does the work make you feel? What do you think the content is? Go beyond “I like it” or “I don’t like it.”
Research
the artist. Historical and biographical information on the artist often provides clues into a works intended meaning. Carefully consider the purpose and context of the piece. Did the piece you selected have any particular political or cultural message? Was the artist making a statement?
Value Judgement
What do you think the artist's intentions were? Was this communicated? Does it have value? Can you recognize the aesthetic quality in the work?
Write the Final Paper:
The following will help you write your paper. It should be used as a guideline, not an outline for approaching your paper. This is very similar to the process used by art critics.
Identification:
Note the title of the work, the date, the artist (if known), medium, and size.
Description:
What do you see? As fully as possible, describe what you see.
What medium is used? What is it made of?
How big is it?
Go into detail about what you see. How would you describe it, in detail, to someone who had never seen it?
What subjects are represented?
It can be helpful to begin looking at a work of art from the middle and work your way out.
Analysis:
Describe the form of the work Explain how visual elements and principles of design are used in the work. The terms in chapters 2, 3 & 4 will be very helpful. Go back and look at the chapter outlines or Short Paper assignment. Use them to:
Describe the use of visual elements such as line, shape, color & space used in the pieces. For example: In what way is it balanced? Is it asymmetrical or symmetrical? What is emphasized? What seems to be the dominating vi.
61213 1112 AMHow to Write an Art Review « Art Biz BlogP.docxalinainglis
6/12/13 11:12 AMHow to Write an Art Review « Art Biz Blog
Page 1 of 2http://www.artbizblog.com/2010/04/artreview.html
! Artists’ Ideas <- Deep Thought Thursday @abstanfield Tweekly "
How to Write an Art Review
Ever thought about writing an art review for your blog or local paper?
Writing art reviews is a great way to meet people and build your credentials. It also provides good practice for honing your eye. You can’t help learning when you look
closely and critically at lots of art.
For a number of years I wrote art reviews for various local publications and even a couple of national publications. I’m a little rusty, but here are some tips on writing about
art exhibits in galleries, art centers, and museums.
1. Make sure there’s something you will like at the exhibit. It’s hard to write about art that doesn’t spark something in you. The artist’s story may come into play, but
your focus for a review is on the art, not the artist.
2. Visit the exhibit at a good time. You don’t want to go when there are tours or sketching sessions in the galleries. You want the space mostly to yourself. You want
quiet. Call the venue and ask them to suggest the best time to come. If the person answering the phone doesn’t seem to know much, ask to speak to the education office,
curator, or public relations officer.
Plan on spending at least an hour in the galleries.
3. Bring a pen, notepad, and voice recorder–depending on how you work best. I used to travel up to an hour to review an exhibit. It was nice to have the recorder to help
me process my ideas on the ride home.
Check with the venue ahead of time and see if it’s okay to take photos.
Muffy Clark Gill and Nuch Owen Exhibit
4. Scan the galleries and get a feel for the installation (how the work is hung or installed). Are the works in chronological order? Grouped by subject matter or by artist?
How has the curator made sense of the large grouping? Use this information to give your reader a sense of being there.
5. Select three or four artworks or artists to highlight in your article. These are pieces you will describe and talk about by title. Spend most of your time with these
works. Sit in front of each one for long periods of time. Write down every detail so you can describe it for your reader.
Note the correct attributions for the art: artist’s name, title, media, date, size (if available). Pick up a list of works on view or copy the text from the labels. Double check your
spelling.
6. Select one thing to criticize. If you like everything, your readers will get suspicious. But you don’t have to be as critical as you might think.
I have been known to harp about lighting, display cases, installation, traffic flow, label text, and label styling. I’ve also knocked the way a show was organized (e.g. the juror
was anonymous). You might find fault with an artist’s technique, matting (boy, don’t get me started on poor matting!), framing, artistic choices and clichés, or craftsmanship.
It makes .
Similar to Preparing for an Artist Portfolio Review or Presentation (20)
First launched in Kansas City, Artist INC is a cutting edge training seminar that addresses the specific business needs and challenges artists of all disciplines face every day. Limited to 25 participants per session, artists gather for one night a week for eight weeks to learn business skills specific to their art practice and apply those skills cooperatively with their peers. Using an innovative class design, artists learn and grow together through artist facilitator mentoring, small group application activities, as well as large group discussion and multi-media lecture.
Artist INC is a collaborative partnership between Mid-America Arts Alliance, and the University of Missouri-Kansas City Innovation Center.
Writing a great grant 2014 (Individual Artists)Fresh Arts
Writing a Great Grant: An Overview for Individual Artists
Led by: Jenni Rebecca Stephenson, Executive Director of Fresh Arts, with Christa Forster, author and 4-time winner of the Houston Arts Alliance Individual Artist Grant
For individual artists // limited to 50 registrants
Wednesday, October 22 , 6:30 p.m. – 8:30 p.m. @ Fresh Arts
Join Fresh Arts’ executive director Jenni Rebecca Stephenson and 4-time HAA Individual Artist Grant recipient and author, Christa Forster, for a two-hour in depth presentation on best practices when composing and applying for artist project grants. Additionally, Houston Arts Alliance Grants Manager Shannon Teasley will be present to answer any specific question related to the Individual Artist Grant.
Our goal with this workshop is to help local artists develop and refine their grant writing skills and to highlight some important and attainable grants administered locally, such as the Houston Arts Alliance's Individual Artist Grant and the Idea Fund. Even if you do not plan to submit any proposals this fall, this overview will be a fantastic opportunity to develop your strategies for framing your work and honing your grant-writing skills.
Representatives from both the Houston Arts Alliance and the Idea Fund will be on hand to answer questions about these grant opportunities.
Fresh Arts Fundamental HR/Employment Policies for Organizations 2014Fresh Arts
Fundamental HR/Employment Policies for Organizations
For arts administrators of small to mid-sized nonprofits
Monday, June 2, from 4-6 p.m.
@ Fresh Arts, 2101 Winter Street, #B11, Houston, TX 77007
Presenters:
Bob Lawson, Director of Administration & Education, Theatre Under the Stars
Elaine C. Becraft, Counsel, Labor & Employment, LyondellBasell
Not sure who on your team should receive a 1099 or a W-2? Are you supposed to be paying unemployment taxes? Do you know the rules around interns? Join Bob Lawson, of Theatre Under the Stars, and employment lawyer, Elaine C. Becraft for a crash course in what you need to know and what you didn’t know you didn’t know. This is a great opportunity for administrators to have questions answered by an expert in the field and address some of the unique challenges we all face in keeping our small or mid-size organizations in compliance with HR standards.
Topics include:
- Basic distinctions between 1099/W2 employees, as well as exempt/non-exempt
- How to avoid abusing interns
- Basic options for offering benefits
- Basic reporting for new hires
- Unemployment taxes (when you need to worry about them)
- The advantages and timing of outsourcing, rather than handling HR in house
- Common questions re: employment law
- Basic best practices for interviewing/hiring
- Employee reviews + HR advocate on board of directors for smaller nonprofits (i.e. to provide an additional outlet for reporting HR problems)
- The "Absolute Musts" of any employee handbook (I found a great resource from ADP on this subject)
Development finance & operation basics for nonprofits_Fresh Arts 2014Fresh Arts
Development Finance and Operation Basics
for the Jack-of-All Arts Administrator
(Gift Acceptance, Disclosure Rules & Basic Financial Reporting)
For arts administrators of small to mid-sized nonprofits
Wednesday, June 4th, from 4-6 p.m.
@ Fresh Arts, 2101 Winter Street, #B11, Houston, TX 77007
PRESENTERS:
Amy Lampi, Senior Director of Development Support Systems, Memorial Hermann Foundation
Joanna Torok, Director of Advancement Operations, Houston Grand Opera
Are you in charge of fundraising AND finance within a small organization? Do you struggle with creating a regular routine for acknowledging donations? Do you know how to present your financial position effectively to your board? Are you certain you’re in total compliance with the IRS when accepting gifts? Administrators can expect to walk away from this workshop better equipped to manage broad financial concerns along with a simple check-list of things to do each day to ensure you are staying in compliance.
Topics will include:
- Creating simple systems for fund development management and operations
- Timing, rules, and language for donor receipts
- Common mistakes in communicating the tax benefits of donations
- How to determine Fair Market Value for special events, etc.
- Basic financial reports
- Forecasting revenues
- Reconciling fundraising activities with greater financial goals
Fresh arts Get it in writing! Contract WorkshopFresh Arts
Get it in Writing!
Understanding & Crafting Contracts
with Emily Watts and attorney Erin Rodgers
May 6, 2014
(For artists, collectives, and nonprofits)
*This workshop hosted at the Dance Source Houston Headquarters, The Barn (formerly Barnevelder).
The Barn, 2201 Preston St, Houston, TX 77003
Are you an artist lending your work to a business for exhibition? Are you a performing arts organization that hires independent artists to perform? Are you renting space for a performance and exhibition? In all these instances, contracts and/or letters of agreement help protect you and your work, as well as prevent misunderstandings and other problems.
TOPICS TO BE COVERED INCLUDE:
- Understanding basic contract language and common clauses (glossary of common legalese)
- Defining correct parties
- Terms and options
- Intellectual property ownership
- Work for hire
- Liability
- Consideration ( making a contract binding)
- Breach and dispute
- Cure options (how to remedy a breach of contract)
- How do you know when you are breaking a contract
- Combining contracts with Letters of Agreement (LOAs) and riders
- Contract addendums and red-lining
- Recourse upon broken contracts
Funding strategies for individual artists 3.0Fresh Arts
Funding Strategies for Independent Artists
Monday, April 21 | 6:30-8:30 p.m.
*Workshop will be hosted by Art League Houston, in the Main Gallery.
Art League Houston, Main Gallery
1953 Montrose Blvd.
Houston, TX 77006
Join Fresh Arts’ Executive Director Jenni Rebecca Stephenson and professional composer and musician, Jerry Ochoa of Two Star Symphony, for an overview workshop on strategies and resources for individual artists seeking funds to support their professional art career.
This workshop will cover: identifying grant opportunities (including several key local opportunities), increasing accessibility to additional funding through fiscal sponsorship, and securing individual contributions and institutional support. The workshop will also provide tips for creating and managing successful crowd-funding campaigns and offer examples of how local artists have successfully raised money for their projects. (Specifics on grant-writing and crafting proposals will NOT be covered in this workshop, but will be covered later in Fresh Arts’ workshop series.)
This workshop will apply to all types of individual artists including those in the visual, performing, filmmaking, literary, and multi-disciplinary fields.
Housont Arts Resource Fair 2012 - Host PresentationsFresh Arts
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CAREERS FOR THE 21st CENTURY ARTIST: Why Understanding the Business of the Arts will MAXIMIZE your success in the Arts Business.
Fiscal Sponsorship + Crowdfunding = $$ for Creative ProjectsFresh Arts
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Presentation covers:
Definition of fiscal sponsorship and crowdfunding, Taking advantage of the fiscal sponsorship program. Review of the leading crowdfunding platforms. Keys to crowdfunding success, Benefits of crowdfunding, and Crowdfunding myths.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Preparing for an Artist Portfolio Review or Presentation
1. Preparing for an Artist Portfolio Review or Presentation Adapted by Marta Sanchez Philippe, FotoFest, for a workshop presented at Spacetaker’s ARC, June 2011 Special Thanks to our Presenters: Jennifer Ash, Exhibitions Coordinator, Art League Houston Marta Sanchez Philippe, Coordinator of the Meeting Place Portfolio Review and International Projects,FotoFest Anya Tish, Owner, Anya Tish Gallery Jennifer Ward, Exhibitions Coordinator, FotoFest
2. Before the Portfolio Review:Setting Your Objectives Be clear about what you want, but realistic with your goals Are you seeking technical advice, guidance or information about clarity of content, print quality (in case of photography), editing or sequencing? Are you hoping to market a completed series or body of work? Are you seeking representation for the work? Do you want an exhibition of a completed body of work at a gallery or other institution? Do you have a specific exhibition idea/concept you are wishing to present? Are you looking to publish the work?
3. Editing Your Portfolio pt 1 Limit the number of pieces you are showing: No more than twenty! Present a thematically unified or otherwise cohesive body of work. If you have more than one body of work to show, show your strongest work first. Most of the time, curator/gallery owners only have time to see one or two bodies of work. From a gallery owner’s perspective, when presenting artwork, start with MOST recent. Sending 20 images at once may not be best; instead, send 2-3 web-resolution images at first.
4. Editing Your Portfolio pt 2 Every art work in your portfolio should be a strong image. IF IN DOUBT, LEAVE IT OUT Editing and sequencing images affects how the curator/gallery owner will understand and experience your work. Ask yourself these questions when you are editing: Which is the first image I want the curator/gallery owner to see? What do I want my sequence of images to ‘say’ and why? What happens when two images are put together? Does the meaning change if I change the sequence? How do I maintain a strong sequence from beginning to end?
5. Presenting Your Portfolio pt 1 It is very important to present your art work in a professional manner. NEVER drop into a gallery expecting them to look at your work WITHOUT an appointment. Call or email to schedule an appointment. Carefully choose when you call/email a gallery: DO NOT call/email them the week of an opening, as they will be very busy installing etc. Best time to call or email is a week or so after an opening.
6. Presenting Your Portfolio pt 2 If showing photography, bring original prints-- NOT Xeroxes or laser copies. Print images on same size/paper, if possible. (Make your work appear more cohesive.) It’s not necessary to mat photography prints or drawings-- If you do, mats should be well cut and clean. Do not show your work in plastic sleeves. If you are presenting delicate works on paper in portfolio, separate each piece with appropriate sized piece of glassine paper, which you can get from Texas Art Supply and is acid free.
7. Ease in Handling Package your portfolio such that you can carry it, open it, show it, and put it away quickly. Simple clamshell portfolio boxes are recommended. Don’t bring 20 extra large pieces of work. Print portfolio in medium size prints. If you need to show exhibition size prints, or an original, bring 2-3 large prints in a tube, or one original art work. Keep in mind that curators/gallery owners are experienced at handling art work, and most do not like having to use white gloves when looking at your work.
8. Presentation Materials pt 1 Design and produce a simple promotional piece or card with your contact information that will remind the curator/gallery owner of your work. We suggest a postcard and/or calling card with image of your work on one side, and all contact info on other side, including email, mailing address, and phone number. Most curators/gallery owners remember your images better than they remember your name.
11. Presentation Materials pt 2 Format If you bring CDs, resumes or brochures for curator/gallery owner, they must have your name, contact information, and an image of your work on the front of the CD case and ideally on the top of the CD as well. Please include all the images and text documents in your portfolio on the CD such as cover letter, bio, resume, and artist statement/proposal and image list. Do not mail portfolios, CDs, etc without prior notification (email or call).
12. Presentation Materials pt 3 If you are proposing an exhibition or installation, bring all of this information: number of art works, size of each art work, matting and framing requirements, installation details, equipment needed, and photos of previous installations. Read instructions carefully before submitting your work to a gallery or other exhibition space. (Length of statement and bio, format for images, contact info, mail vs. email)
23. Presentation Materials pt 4 Biographies, Statements and CVs Start with most recent accomplishments in your bio Keep it SIMPLE! Do not embellish, make it concise as possible. Less is more! Artist Statement included with portfolio should be about that particular body of work; keep it clear, concise, and not full of artsy jargon. Include your name and full contact information on every page Attach bibliography, reviews, anything printed or online, also starting with most recent. Most curators/gallery owners believe technique and process are important components of a successful work of art.
24. Problem Artist Statement This statement was sent to institution with comment boxes. This statement is too long. The highlighted portion is what is truly important and should be included.
25. Good Artist Statement Clear (not full of artsy jargon) Concise yet expressive Includes full contact info
26. Problem CV Name is included but does not include contact information
28. Do Your Research Get to know the institution ahead of time. Look at the kind of art work the institution, organization, or gallery presents. Choose venues/curators/galleries who will respond best to your work and be most useful for your objectives.
29. During the Meeting Be on time for your appointment. Look professional. Don’t make the mistake of talking the entire time. Listen to the feedback. Be mindful of the time limit with each curator/gallery owner; you will want to have time within session to receive feedback. Ask a few good questions. Always avoid questions that can be answered with a simple “no”.
30. Be Ready to Take Notes Bring a notebook and pen or pencil. Consider bringing a tape recorder, but always ask permission to record. You can also bring a sheet with thumbnails of art work to mark which images the curator/gallery owners responded to most strongly. Whatever note taking or recording format works for you - do it. You want to take home as clear a memory of each discussion as possible
31. The Last Few Minutes of the Review Ask the curator/gallery owner for his/her card. Ask the curator/gallery owner if you can add his/her name to your email list. If the curator/gallery owner requests more info, ask what format they prefer to receive – regular mail or email? If you have other materials –CDs, booklets, exhibit catalogues, etc. - ask the curator/gallery owner if he/she wants additional material. Do not assume the curator/gallery owner wants to keep them. If you are at an event, don’t burden a curator/gallery owner with a bulky packet or books to take home, offer to mail it to them at their office after the event.
32. After the Review Write a thank you note or email to every curator/gallery owner you saw. Do not expect the curator/gallery owner will respond to you. If they do not respond, it does not mean they do not like your work. If a curator/gallery owner asks for more materials, send the materials as soon as possible. Keep in contact with the curator/gallery owners who request it. Read your notes, reflect on the advice you receive. Consider these experiences a chance to build relationships with professionals who may respond positively to your work, and a chance to build a professional network.
33. THANK YOU! Visit www.spacetaker.org for more information about Spacetaker’s professional development workshops for artists and other opportunities and resources for artists.