3.10.18
Introduction to module
We were told to make a blog to log the process of creating a website and to document the planning and creation of the Woolwich exhibition and to build a website for our artistic practice.
17.10.18
Looking at artists websites and social media with Michael Pinsky
14.11.18
Looking at website building services with Michael Pinsky
Were shown Wix and Wordpress and told to think about using the templates they offer in order to make process easier
5.12.18
Start building artist website
In this session I moved my domain name from 1&1 to TSO Host, I started making my first website on Wix, I realised you couldn't install a Wix based website onto a TSO Host domain and I removed my IP servers from Wix to TSO Host
6.2.19
Digital Processing with Michael Pinsky
20.2.19
Shades of Grey
Apparently we were going to reflect on our Woolwich exhibition but it wasn't mentioned. We were put in groups and given handouts with photos of multiple works by different artists and asked to come up with a theme and title for a hypothetical exhibition curated by us that tied these works together. We were then asked to write a short exhibition description to go with our hypothetical exhibition. We were told what was too obvious or on-the-nose about our titles and descriptions, and why artists might not want their race or gender mentioned in a show description. We then were given a description of what the Diversity Art Forum is, what it means to be a private forum and how it runs without government funding. We looked at professional newsletters that artists and galleries send out in order to keep people in the loop and get people interested in their practice or gallery. We talked about the importance of business cards and the best time to give them to people. We were told about how networking can happen in unexpected places, like a dinner party
6.3.19
Shades of Red
"States of Change": two exhibitions of the same name by two different groups, in two different venues (one being a gallery in East London, one on a bit of wasteland on the Thames by UEL), with two different themes (one about the working class, the other about issues of homosexuality and body issues).
Another exhibition was in the bar and lounge areas of a cinema
Q: What places that aren't the traditional gallery space could you see your work shown in?
A: Somewhere atmospheric, with idiosyncratic lighting and acoustics, like an aquarium, or somewhere underground like a bunker, tunnel or catacomb. The mysterious and dark atmosphere that a place like that creates is an intriguing one and carries similar themes to my work, I think could help bring another element to the work I would show
Public institutions:
Curators work directly with the artists. They also have to be good at writing, as they write the description of the show on all the marketing material
Project Manager does all the contracts, licences and other admin, and also has to check the curators writing is of a good standard
Public institutions usually have a learning department, Marketing needs to liaise with them
Commercial Galleries:
Gallery Coordinator inspects conditions of work before and after delivery and reports to Head of Operations so an artist sues they have evidence for the Art Lawyer to use
Head of Sales, and Sales Consultant have a travel budget and travel the world to talk to art fairs and other galleries
Head of Operations deals with communications between other galleries under the same company
Commercial Galleries also liaise with auction houses
Separate to this session, when I visited the Tate Alternative Careers Fair, I learned about the role of a Gallery Registrar, an employee who manages the gallery's inventory, writes condition reports, follows up on the location of works, and communicates with shippers, art handlers, suppliers, storage handlers and customs officers
Introduction to module
We were told to make a blog to log the process of creating a website and to document the planning and creation of the Woolwich exhibition and to build a website for our artistic practice.
17.10.18
Looking at artists websites and social media with Michael Pinsky
14.11.18
Looking at website building services with Michael Pinsky
Were shown Wix and Wordpress and told to think about using the templates they offer in order to make process easier
5.12.18
Start building artist website
In this session I moved my domain name from 1&1 to TSO Host, I started making my first website on Wix, I realised you couldn't install a Wix based website onto a TSO Host domain and I removed my IP servers from Wix to TSO Host
6.2.19
Digital Processing with Michael Pinsky
Apparently we were going to be shown techniques to improve our photographs for documenting our work but we weren't. We were given A brief introduction to Google Sketchup, a 3D modelling software that can be used to make a gallery model for planning exhibitions, a software that I am already quite fluent in, as I taught myself how to use it a few years ago for my own entertainment.
Shades of Grey
Apparently we were going to reflect on our Woolwich exhibition but it wasn't mentioned. We were put in groups and given handouts with photos of multiple works by different artists and asked to come up with a theme and title for a hypothetical exhibition curated by us that tied these works together. We were then asked to write a short exhibition description to go with our hypothetical exhibition. We were told what was too obvious or on-the-nose about our titles and descriptions, and why artists might not want their race or gender mentioned in a show description. We then were given a description of what the Diversity Art Forum is, what it means to be a private forum and how it runs without government funding. We looked at professional newsletters that artists and galleries send out in order to keep people in the loop and get people interested in their practice or gallery. We talked about the importance of business cards and the best time to give them to people. We were told about how networking can happen in unexpected places, like a dinner party
Shades of Red
"States of Change": two exhibitions of the same name by two different groups, in two different venues (one being a gallery in East London, one on a bit of wasteland on the Thames by UEL), with two different themes (one about the working class, the other about issues of homosexuality and body issues).
Another exhibition was in the bar and lounge areas of a cinema
Q: What places that aren't the traditional gallery space could you see your work shown in?
A: Somewhere atmospheric, with idiosyncratic lighting and acoustics, like an aquarium, or somewhere underground like a bunker, tunnel or catacomb. The mysterious and dark atmosphere that a place like that creates is an intriguing one and carries similar themes to my work, I think could help bring another element to the work I would show
Public institutions:
- Project Manager
- General Assistant
- Curator
- Co-Curator
- Head of Marketing
- Marketing Assistant
Curators work directly with the artists. They also have to be good at writing, as they write the description of the show on all the marketing material
Project Manager does all the contracts, licences and other admin, and also has to check the curators writing is of a good standard
Public institutions usually have a learning department, Marketing needs to liaise with them
Commercial Galleries:
- Director
- Head of Operations
- Gallery Coordinator
- Head of Sales
- Sales Consultant
- Art Lawyer
- Front of House
- Social Marketing and Press Manager
Gallery Coordinator inspects conditions of work before and after delivery and reports to Head of Operations so an artist sues they have evidence for the Art Lawyer to use
Head of Sales, and Sales Consultant have a travel budget and travel the world to talk to art fairs and other galleries
Head of Operations deals with communications between other galleries under the same company
Commercial Galleries also liaise with auction houses
Separate to this session, when I visited the Tate Alternative Careers Fair, I learned about the role of a Gallery Registrar, an employee who manages the gallery's inventory, writes condition reports, follows up on the location of works, and communicates with shippers, art handlers, suppliers, storage handlers and customs officers
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