008 stew hanging briefing 10 02 14

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.

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 existillustrate activityadvertise your activities past – present – futureshare – give to get

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

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 / people you have exhibited with / discussed your work with ....also friends and relatives if appropriate

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.

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?

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.

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?

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.

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.

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.

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 attract a funder, it is also useful to have a verbal version of this type of CV to communicate key points.

connections

keep notes of meetingspersonal database and mailing listsuse and build

digital tools

blog databases – appropriate?online portfoliossocial networks – appropriate?websiteforums – 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.a-n.co.uk/jobs_and_opps/shortcut/article/345238

http://www.a-n.co.uk/jobs_and_opps/shortcut/article/168331

http://www.ning.com/

www.shop.ebay.co.uk

physical tools

CVbusiness cardportfolioimages/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 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.

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.

expectations of people

Personal artistic skills ExperienceCreative expertise Enthusiasm

Flexibility Initiative CommitmentCommunication skills Reliability

How to make yourself visibleKnow your audience Make contactHave clear marketing tools and be honestProject a positive imageProvide strong referencesShow your initiative/independenceBe aware of the competition

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.