Sunday, 27 February 2011

TATE ads

Few people will read these ads.
People hate read. They have not enough time.
Futhermore, titulars are not as strong to make people read.
The advertising that work have strong images and few text.
Don't you think?

This ads was posted at bus stops around London. It's boring at bus stops. People read it. And if it's a Saturday morning (or early afternoon) then you've captured exactly the right target audience.

It's just a smart long copy ad. Aimed at people with time to read. And rich Brits... I guess they have time. And the humour is dry as heck.
Anyway it tries and put 'art' in terms that people can understand and relate to.
Because very likely, the standard 'here's the Mona Lisa, please appreciate it' approach just don't cut it no more.

Thursday, 17 February 2011

Today I and Beverly went to the Blackburn House as a part of our research about venue for imaginary exhibition proposal.
It is nice place. But we already decided to choose TATE as venue. It is ok. It seems we prepared well and did enough research about everything.
For artistic inspiration we went to fourth floor to see student’s work. I love it! It woke my nostalgic memories about my art studio up. I want to do art…but there is no time for it yet. I must read and write about art.

Wednesday, 16 February 2011

bluecoat and art in the city

today i worked as a volunteer at bluecoat. it was great fun especially when came school children age about 7-8 and singed "yellow submarine"!!! i love children! they wanted screaming and running and touch the Mark Anstee's piece - Submarine - and i made blind eyes on it!

exhibition title: draft and research about it

Sure God created man before woman.  But then you always make a rough draft before the final masterpiece.  ~Author Unknown

"God's Masterpiece - woman" (?)

Some men know that a light touch of the tongue, running from a woman's toes to her ears, lingering in the softest way possible in various places in between, given often enough and sincerely enough, would add immeasurably to world peace.  ~Marianne Williamson, "A Woman's Worth"
"A Woman's Worth"


Women are never stronger than when they arm themselves with their weakness.  ~Marie de Vichy-Chamrond, Marquise du Deffand, Letters to Voltaire


I would rather trust a woman's instinct than a man's reason.  ~Stanley Baldwin

woman's instinct.... man's reason

Monday, 7 February 2011

An exhibition proposal

An exhibition proposal can be one of two things: the entire package you submit to a gallery for an exhibition, or an individual document within that package.
You’re probably more familiar with the statement and artist CV, which discuss you as an artist and your artwork in general.
The exhibition proposal should address details specific to the exhibit you are proposing, including any practical concerns.
Important questions:
  • Which art pieces will be included? (if different from your submitted portfolio)
  • How many pieces?
  • What size, or what is the range of size?
  • What is the depth?
  • What is the physical form of the work?
  • Is there a specific way you’d like the work displayed? Arrangement, lighting, or any other unusual considerations.
  • How does the work hang? (By wire, by the canvas frame, etc)
  • Is the work framed?
  • How heavy is it?
  • What type of hardware is needed? (nails, screws, reinforcements, etc)
  • For sculpture, do you need plinths?
  • For multi-media work, do you need electronic equipment or plug-ins?
  • Anything else the gallery may need to know about the physical and practical properties of your show.
These details will help the gallery’s selection committee decide if they are equipped to host your show, and also lets them know what they will need to do and provide to display your work.
So, what is a proposal? It’s the entire package of information all about you and your work that you send to a gallery. It’s your resume, essentially, the purpose of which is to convince curators that your work needs to be in their gallery.
Your standard proposal should consist of six things: a cover letter, an artist statement, a CV, an exhibition proposal, an image list, and images of your work.
It’s important to read the submission guidelines and see what each gallery wants in a proposal. Some specify exactly what information they want from you, and some even specify how they want it bound. Some galleries also require that you fill out an application form. Whatever it is, follow it exactly! Remember, this is like a job interview and if you show them that you can’t follow instructions, it’s just another excuse to throw your proposal out!
If galleries don’t specify what they want in a proposal, it’s always a good idea to include the following:

Cover letter - This is your introduction, your chance to catch the curator’s attention.
Artist Statement: This is an explanation of your interests, motivations, and reasons behind your art.
CV: Short for Curriculum Vitae, this is like an actual artist resume that covers all of your professional experience.
Exhibition Proposal: I call the entire package the proposal, but this document addresses the specific show that you are submitting to the gallery.
Images of Your Work and Image List: These should represent the best of your work.
You may also include additional items in your proposal like press releases and catalogues from previous shows. It can be useful to provide curators with information on your work that has been written by someone else.
When putting together your proposal, professionalism is key! You want your information to be laid out in a way that is clear and easy to read. Each page should follow the same format as the others. Check carefully for spelling mistakes and make sure your presentation is nice. I usually put my proposal into a clear folder, unless the gallery specifies that they want it unbound.
That being said, a little bit of creativity can go a long way; you are an artist after all! If you can think of a creative twist that you can put on your proposal that reflects you and your work, and doesn’t get in the way of your message, go right ahead! Anything that will catch the curator’s attention is a good thing!
One other thing I almost always include is a title page. This is a very simple page that has my name and a print of my work. I submit digital images, so this is a good way to provide the gallery with an example of my work that doesn’t need to be plugged into a computer to be viewed.
What’s more important, the statement or the art?
Well, I’ve read guidelines from some galleries that say they won’t look at your images until they’ve read your written material… I’ve also seen some galleries who judge your work before reading your other information. Either way, you want to make sure that both are of the best quality!

Sunday, 6 February 2011

Strategies to organise an art exhibition
Setting up an art exhibition can be a creative, fulfilling endeavour in and of itself. However, it does have its challenges and you'll need good planning to pull it off.

1.   Choose a theme. The theme is what will tie all of the artwork together and determine the title of the exhibition.
2.   Select a date. Give yourself plenty of time to pull everything together or else you might end up with a sloppy job and poor sales. It is always best to hold an art exhibition so that it includes a weekend. This will allow those working during weekdays to attend and often families will make an outing of the event.
3.   Find artists with work to exhibit. Browse at local art clubs, street markets where you see artists with good work on sale, and ask anyone you know who is an artist in your community. If you have chosen a narrow theme, they might bring along existing artwork or they may have to paint or create new artworks. It is best to ask them first what they will have the time for and interest in doing. Consider more than just paintings - sculptures, models, artistic photos and glassworks are just some other possible ideas that can be blended well with painted artwork or stand alone.
4.   Determine the location of your exhibition. You can rent a large hall, but many different kinds of spaces will do (such as a library or even someone's home, for example). Ensure that the space chosen is well-presented, clean and modern. Laminated flooring and white or pale walls with no pattern will look the best. Consider how many art pieces will be needed to fill the space and compare that with your estimate of what you will be exhibiting. Pay particular attention to available lighting. Large windows can be good, and track lighting can be especially useful in illuminating the work.
5.   Frame the artwork (if applicable). People are more likely to buy artwork that has been carefully and tastefully framed, rather than just simply mounted. But, framing requires a deeper investment on your part--one that you need to be confident will pay off.
6.   Set your prices. Consider all of your costs, including the fee for renting the space, the framing, advertising, the artist's share, your share, and any percentage donated to charity. Decide whether an admission fee will be necessary or appropriate.
7.   Advertise the art exhibition. Make invitations and posters displaying the same theme as the paintings, sculptures and other artwork. Include the exhibition title, location, date, time, and admission fee. Put posters up on supermarket bulletin boards. Get in touch with local newspapers and tell them about the upcoming exhibition. Advertise at local art schools and universities.
8.   Set up the exhibition space. Transport the artwork carefully. Remember that stacking heavy, framed pieces can result in shattered glass. Arrange the artwork in the space using your own judgment. Try to develop a flow, and imagine how a visitor will see the room upon entering. Which piece will they see first? Consider adding descriptions to any or all of the pieces. Always make the prices clearly visible. Ensure that artwork is hanging properly, roped off (if needed) and that signs are provided telling people not to touch (again, if needed). Or conversely, if people are allowed to touch something, let them know!
9.   Entertain with food and drink. If you can afford it, offer beverages such as champagne, wine and non-alcoholic choices, along with finger food or a buffet. Or, reserve this just for the opening night or morning, to share among those who come to an invitation-only opening. If it is an elegant affair, serve finger foods like shrimp, falafel and mini-quiches. Provide a pleasant background atmosphere. Play good music (classical or soft electronic) at a low level, especially at the end when people start leaving.
10.               Be sales savvy. In addition to selling the artwork, it can also be profitable to print cards with photos of the paintings or other artworks and sell in packs of five or so. If a percentage (or all) of the proceeds go to charity, there's a better chance people will come and buy the artwork.
11.               Be sure to give your artists proper credit. Ask them if they can all attend to be able to discuss their artwork with guests.
12.               If you want a theme, ask your artists to dress according to the theme. If the event is classy, dress classy. If the theme is Victorian, dress in elegant Victorian clothes. You must, too - the hosts really must participate.
13.               Play the host as much as possible; introduce artists to potential buyers to spark conversations. Flit about like a social butterfly.
14.               If you have any idea what the weather's going to be like around the time of your exhibition, try to go for a dark, cold, rainy time of the year. You don't want to compete with beach balls and picnics for your viewers' time.
15.               Take care in hanging your artwork at an appropriate height. A common choice is to hang images so that their centre is 60" from the floor.
16.               If raising money for charity, it might be a good idea to have an auctioneer or a silent auction.
17.               Visit more shows & openings at professional galleries so that you realize how much you need to know about different aspects of organisation the art exhibition, for example: post cards & press releases, insurance (or signed waivers in the absence of insurance), handling artists dropping off & picking up their work, the particulars of hanging work, artists' resumes on hand (and in a binder), a price list, gallery sitters (perhaps requiring participating artists to do a shift), etc.
YOU SHOULD LEARN SOMETHING from each show you do. The trick is to remember it and apply it to yourself, which means recognizing that you just learned something. Exchanging horror stories is a good way to share experiences and learn from them, not to mention that some are really hilarious (after the fact). Repetition makes an experience easier (in most cases), but if you keep repeating the wrong thing, you're defeating the "live and learn" adage.
 Research usually doesn't hurt. Read a little. Make yourself knowledgeable if you're not already. Learn to appreciate the work of others, even if it's not your style of art. Look at some design magazines, check hobby books for display ideas.


Although my blog for learning experience only I can not to post yesterday’s pictures of one of my favourite English places. Love it!

Art and travel are my favourite lifetime subjects. From the rainy and wonderful landscapes of English Lake District and its thousand year old Rocks in Ireland, to the spacious halls of the Centre Pompidou in Paris, Norway fjords, I am passionate about it all.
Since a young age, I have been interested in travel and, after being bitten by the travel bug, have been to numerous countries. When I am travelling, I like to immerse myself in local culture and explore the local arts and crafts that are unique to each location.