16th of February

Essentials for holding an exhibition

  • Should an artist stament narrate the evolution of an artist’s work or should it narrate who is the artist?
  • Provide meta-data; all information supplied about the artwork (e.g. title, dimensions, materials, name, year). This is an abstract term.
  • Inform people about the show.
  • When talking about organizing an exhibition, don’t make it too personal.
  • Timing needs to be good. Missing deadline can be calamitous.
  • Even if organazing an exhbition, it is important to hold a private viewing.
  • Never close before actual closing time. You never know if someone comes at the last minute. Don’t feel down/underestimate.
  • When approaching an exhibition of multiple people, you can either based it off a theme or use the existing work as a starting point.
  • It is simportant the esxhibition will be available for a limited amount of time because in that people feel limited and feel rush to show up to the exhibition.
  • Exhibition looks unfinished if there is missing work.
  • If work is being sold, the artist needs to consider the selling price, transport, delivery, and frames prices.

9th of February

Introduction to the module:

For one to develop their professional practice, there are a list of habits that an artist needs to do. Some examples include:

  • Know the importance of Instagram and/or having to show artwork. In the 21st century, it is important to have a social media presence sinc it it harder to get noticed in the art world and technnology has become very important in our day to day lives.
  • Multitasking. An artist most do something several things at a time: not only for income but to also move faster in their studio practice. For example, an artist can also be a curator, tutor or writer.
  • Use Signal as an alternative to Whatsapp.
  • Be aware of contemporary artists. It is a great way to get inspiration source. Activities involve going to art galleries often.
  • Document art process.
  • When being interviewed or given criticism, don’t get defensive. It makes the artist narrow down and give a lazy justification for the lack of substance in their artwork.
  • Be aware of the issues in the art world. Look at fairs, what is happening in the industry. The arts are a big income in the UK, and it is important to look at the government policies to know about money and funding.
  • Have a business card of hard copy of who you are and your contact details. 
  • Be confident in your practice and how you verbally talk about it without overdoing it. 
  • Don’t plan or think about a piece for too long. Just doing it will get you somewhere.
  • Follow the news so you are not naive. A gret way to start is by looking at simple politics on Instagram, putting the radio on e.g. In Our Time on Radio 4, read the art’s newspaper in libraries, look at the entertainment tab on news e.g. The Guardian and BBC,  and listen to podcasts e.g. A Brush With and Talk Art.
  • Have different social media accounts. Personal life and art work should ideally be separeted unless it is part of the practice. This is so an artist can look more professional.

How does an artist survive?

Time management is key. This is going to be essential on year 3 since it is going to be more intense. Even if artists are bohemian, it is good to have a timetable and have a part time job. 

Networking is important. Keep updated people you met before with the new things you make. This is called back networking. Don’t neglect your classmates, but also be tactical and a bit secretive on what you say so people don’t steal your ideas.

In order to progress in the module, I have to ask myself what are the next steps in my studio practice, say what I am doing, what I am reading and what artists I am looking at for evidence.