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EXHIBITING YOUR WORK workshop with Les Walkling

Duration: 3 hours
Location: Lab-X St.Kilda.
Date: 26/08/2009

Prosiac V Poetic communication. No schism between own work and 'client' now for digital natives. Helen Ennis, why are 'we' not in her recent book. Cultural discussion and context of Helen Ennis at odds with AIPP etc. Revist old colour negs of Melbourne and make a series. Title? That alludes to time? What makes your work Art?What are the differences between commercial art and the plastic and applied arts. The line in the sand is allegedly drawn around 1970 and the start of POMO.Victor Burgin 'Thinking Photography'. Art photography is about schoarly 'ideas'.

Content Context The Art Industry driving the needs of itself. Corporate, only, interested money. Right down to the sales. 5 Types of Galleries
  1. National ie, NGV2.
  2. Publicly funded ie CCP
  3. Commercial
    1. Tolarno
    2. Broader Demograhic ie mid-career artists.
    3. Artist run collectives etc. Span, etc.

Why do you exhibit? therfere to whom and how?Material Thinking Paul Carter. 'Thinking Through Practice, Art as Research in the Academy' Pub, RMIT? Put yourself in your viewers shoes? Galleries as thinking spaces. Cultural conversations, is part of experience. Schism is closing between commercial & art. Pricing based on reputation and edition can charge per print/edition, up to the $2500.

NGVI show, about lenses. Find your audience. Decorative work sold under an extra name. Such as interior decorators e.g.

Gallery Contract?

How to prove your own pedigree? Can you see the gallery's pedigree. Always examine the galleries contract, beware if none exist. Hire spaces for example. 'The Artist & The Law' Shane Simpson 2nd Edition. All in the eyes of beholder.

CONTENT & CONTEXT for art.

Use NGV's labelling system.

Stills Gallery, Sydney.

Ricky Manyard.

Art Almanac start collecting. What is my content, give a little away at the gallery space. Who can add value to our work, wrtiers publishers etc. David Oliver commercial photographer. Sydney based. Moved by the Henson show in Sydney refurbished gallery then showed personal work on the walls.

Cost of materials plus 10% starting point.

Look closely at ALL aspects of the contract. How do you approach agallery?Pre-visualize the space, will your work be at home? Know your collector/curator. Understand the organisation get all info you can on it. Ask "do you view portfolios"? If there are they sholud be readily available on their website for example, if not just ask. "Can I make an appointment"? What to take? Come as you are, the real you. Present your work as preciously as you can afford, professionally. In my case use a solander box. Make you work stand out, and own it, profesionally.Re-copy the work, in-situ, the big work.

Proposals should also stand out. Tailor the proposal to each gallery. CV should reflect this. Cultural position? What is mine? Attached to a larger cultural context. 'Singular Images' by Sophie Howarth. Re-jig CV for exhibition propasals, put cultural position first. Artist's statement forms part of folio interview. Get one written for you if you can. Can I write my own? Find some one who can? Photofile, subcribe to some journals, and find the writer you connect with the most. Approach them what ever way you can. Keep trying don't give up, choose the writer that sits with you most comfortably.

What are your means of production where are your prints. Follow up on your initial contact. Displacement and culture. Collaborators find they may be able to help you find your own context/content. Leave your statement behind, at the gallery. Practice on others, with your statement etc. Find someone who is on your level, to write about your work. Get your work inserted in the broader cultural discussion.How to Hang a show?Research the space, make a scaled model and set up the show, or use 3d software. Be site specific in your application. Get into the details, includingthe lighting. Scale. Lighting, quality.

Cool colors recede, warm colours come forward. Study some shows at NGV, including the lighting. Spot or spread, colour all help to bring prints alive. Light grey helps images glow. Consider painting the walls a better colour ie grey light grey. Online Journals exist. E-mail LW for names. Collectors, Art collector. Magazine find the collectors that are aligned with your work and ideas.

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