Anyone exhibited?
Martin Francis
pipe...) but I was thinking of maybe getting some work exhibited in local
galleries with an eye to maybe getting something published. Anyone ever had
their work in an exhibition, and can offer advice?
--
Martin Francis http://www.sixbysix.co.uk
"Go not to Usenet for counsel, for it will say both no, and yes, and
no, and yes...."
Joseph Kewfi
What specifically would you like to know?
"Martin Francis" <mcs...@com.btinternet> wrote in message
news:cdml5v$dcs$1...@hercules.btinternet.com...
Martin Francis
news:cdmlvm$ob7$1...@dorito.esatclear.ie...
> >Anyone ever had their work in an exhibition, and can offer advice?
>
> What specifically would you like to know?
Anything anecdotal or otherwise. What sort of stuff works, print sizes, to
frame/not to frame, attracting attention, past successes, past failures,
worthwhile venture, whether to keep a series of limited, numbered prints
available for purchase just in case, etc.
Oh, and if anyone has been published, how did you go about it?
Skip M
hold jurored exhibitions. Get on their mailing lists, they'll send out
periodic "call for artists," a prospectus to announce upcoming shows.
As far as framing, these requirements will usually be spelled out in the
prospectus, most in my area want them framed with wire on the back to hang,
rather than saw-toothed or loop hangers. Frame photographs as simply as
possible, many jurors have what amounts to an allergic reaction to ornate
frames or mats that are color coordinated. Use a black or white frame,
preferably painted wood, and white matte. Black mattes are ok, but, unless
they really enhance your image, stick with white. Print sizes are up to
you, I prefer to do 8x10s, but I've had two gallery owners push me to do
11x14s and larger. Some prefer the intimacy of a 5x7, it draws the viewer
in closer, but runs the risk of being lost in the shuffle of larger work.
Limited editions are more a commercial gallery issue, not exhibition.
You'll generally need some track record of jurored shows to get much
attention from a commercial gallery, unless your work just knocks the socks
off of the owner. That being said, I usually do at least 5 prints from a
neg that I like, and limit my "editions" to 10 or 25, depending largely on
mood...never sold more than 5 of any given print, anyway.
The only work I've had published was found on my website by the publisher,
and they asked if I would be interested in being included in an upcoming
book. Generally, it takes submissions to get the attention of an art
director, which is something I haven't done to this point.
--
Skip Middleton
http://www.shadowcatcherimagery.com
Gordon Moat
Martin Francis wrote:
> This may just be pipe dreaming (and you don't want to know what's in the
> pipe...) but I was thinking of maybe getting some work exhibited in local
> galleries with an eye to maybe getting something published. Anyone ever had
> their work in an exhibition, and can offer advice?
Excellent idea, and I think you should give it a try. Of course, the obvious
Catch-22 question that comes up when you inquire at a gallery is: "Where have
you previously shown your work?" There are definitely ways around that part,
like entering juried exhibitions, or joining an established group that already
has established exhibit locations. The easy places are restaurants, cafés, or
even some night clubs, which are other areas to show your work.
I think the important aspect to consider about showing your work is what you
want to accomplish by doing that. My own reason for getting back into showing
my work last year was a decision to build my exhibit history. That exhibit
history can be a helpful factor when trying to get into an MFA program
(Master's Degree). Outside of the exhibit history, I hope to get my name out
more; and that has worked, since I had three jobs last year that came about
because someone saw my work in a gallery. The last aspect of why to exhibit,
is getting direct sales. Unfortunately, the reality for most exhibiting is
that they may spend more than what the get in direct sales. Skip Middleton and
his wife have been relatively successful at print sales, and they are a better
resource for that direction than I.
Just by coincidence, I finally managed to post my 2003 and 2004 exhibit images
onto a fine art area of my web site. You might be surprised by some of the
images, including one that appeared on the Shoot In. The images are less
important a consideration in some juried shows than researching the judge.
While the images should be very high quality, and nicely framed, the subject
matter or scene could be nearly anything imaginable.
<http://www.allgstudio.com/fine_art.html> Fine Art Area, click on the
"Exhibitions" image.
If you go for the juried show route, find out who is doing the judging. Read
about what work the judge has displayed, exhibits they may have organized, or
even what college they may have attended. Try to find examples of their work,
or from past exhibit they have juried. When you learn more about each judge,
you will be better equipped to select images that might fit the show. Judges
often choose images based upon an overall look to the exhibit, with the idea
of either complimentary, or contrasting images. With that in mind, you could
team up with another individual to submit similar images into the same
exhibit. Keep in mind that a judge often has very limited time to select
images, so often more subtle images might be passed over. I am not suggesting
simplistic image selection, but definitely keep that in mind for some juried
shows.
I have shown my work since 1996, about the middle of my art degree. I have
shown painting, pastels, charcoals, mixed media, and photography. Some of my
earlier exhibiting was in group shows without judging, in restaurants, night
clubs, and a few cafés. After a couple years I stopped due to lack of sales,
and disillusionment. Only after some more prodding from several friends,
including Skip and Heather Middleton, did I start showing my work in juried
shows in 2003, after almost four years of showing nothing. Since early 2003, I
have made it into every juried show I have entered, though I think that is
more down to my research of each juror, and maybe some careful editing
choices.
I encourage you to give it a go. If you don't make it into the first, or first
few, shows that you enter, keep trying. You likely would not get selected
because your images did not fit into an overall theme, rather than them not
being of enough quality. I have looked at your images, and some are definitely
worthy of being exhibited in a gallery. So get to work!
Ciao!
Gordon Moat
A G Studio
<http://www.allgstudio.com> Updated!
Rivergoat
tips/suggestions/advice on pricing items for sale to interested
buyers? The very rich will pay anything *:) The common folk would do
little beyond look at a fine work. IUs there such a thing as a rule of
thumb when it comes to this subject?
Skip M
news:40FF2134...@attglobal.net...
Thanks for the endorsement, Gordon! <blush>
You went in to more detail than I did, and what you said is very true, the
primary thing to do in jurored shows is to research the judge(s). Heather
always runs a Google search on the names, to see what their taste runs to.
The other thing Gordon says that holds true 100% of the time is to not get
discouraged. There are many tales of images that got rejected outright from
one show taking first place in a subsequent one, and, believe me, I've
witnessed a few of those just in my own household, with myself, my wife and
daughter all entering photographs in shows.
Skip M
news:5ocuf0p0ie2utkobs...@4ax.com...
Trust me, the very rich didn't get that way by paying anything for anything!
<G>
That being said, sometimes too small a price is nearly as much of a
deterrent as too high a price. I've found most of my success at the
$150-200 range, which means, after the gallery commission, I get a whopping
$75-100. (Which is why I haven't quit my day job!) On the other hand, my
wife sold a piece printed on a Japanese paper made to emulate hand made
paper, from inkjet, for $300 out of a gallery in Solana Beach. (Gordon,
you'd know the model!) The sad thing is that photographs don't even come
close to the prices of oils or acrylics.
As more pieces sell, and a name is built up, the price rises. My wife,
Heather, has had more success with sales, and is a little better known,
locally, so she commands a slightly higher price for her work than I do.
Gordon Moat
Pricing here could be different than other areas. I think there is a
regional aspect to pricing, depending upon how well artworks sell in your
area. Much as Skip noted, there are times when a price could be too high,
or not high enough.
There is also a need to consider the unique nature of a photograph. With
Polaroid images, lifts or emulsion transfers, these are always one of a
kind, and difficult to duplicate. There also needs to be a consideration
of the materials used, and the effort to get a compelling final print.
With that in mind, I personally do not go below $100, usually near $200,
and not over $400, though if I made larger prints I might consider that
into the pricing.
Since I also exhibit oil painting, there is a different price structure
for those. My smallest painting consume nearly $300 in supplies, and 30
or more hours of work. This is also a type of artwork in which the price
can be too low. There are many buyers who only spend under $500, which
would rarely enable them to buy an oil painting. There are also those for
whom $2000 or more is a reasonable price for a work of art, and are more
likely to buy an oil painting. I tend to only price my paintings over
$2000, since there is almost no market between $500 and $2000.
Understand also that people will buy what they like. Until your artwork
can get six figures or more in a sale, it does not matter what your name
is, nor any reputation you have built as an artist. I know a sculpture
artist who once told me that he got few sales until he raised his prices.
Raising prices can attract a different buyer, though I think caution
should be advised to those trying to sell photographs.
Bandicoot
>
> Martin Francis wrote:
>
> > This may just be pipe dreaming (and you don't want to know what's in the
> > pipe...) but I was thinking of maybe getting some work exhibited in
local
> > galleries with an eye to maybe getting something published. Anyone ever
had
> > their work in an exhibition, and can offer advice?
>
> Excellent idea, and I think you should give it a try. Of course, the
obvious
> Catch-22 question that comes up when you inquire at a gallery is: "Where
have
> you previously shown your work?" There are definitely ways around that
part,
> like entering juried exhibitions, or joining an established group that
already
> has established exhibit locations. The easy places are restaurants, cafés,
or
> even some night clubs, which are other areas to show your work.
>
In the UK there is also the library - most town libraries have a regular
schedule of exhibitions and often have trouble filling the wall space. You
may not sell much (promotion is key) but you can get three or four shows
under your belt in not too much time this way, which will help with
experience and with 'track record' when you come to approach commercial
galleries.
Peter
Martin Francis
>
> Martin Francis wrote:
>
> > This may just be pipe dreaming (and you don't want to know what's in the
> > pipe...) but I was thinking of maybe getting some work exhibited in
local
> > galleries with an eye to maybe getting something published. Anyone ever
had
> > their work in an exhibition, and can offer advice?
>
> Excellent idea, and I think you should give it a try. Of course, the
obvious
> Catch-22 question that comes up when you inquire at a gallery is: "Where
have
> you previously shown your work?" There are definitely ways around that
part,
> like entering juried exhibitions, or joining an established group that
already
> has established exhibit locations. The easy places are restaurants, cafés,
or
> even some night clubs, which are other areas to show your work.
Well, i've already exhibited at a gallery in London as part of a collective
of graduating students (http://www.2wentyeight.co.uk). We clubbed together
some money, got the space for a week, had an alcohol-fuelled opening night
and had a darn good time. Also, the store I work at has a gallery above it
which, as it's free and non-profit making, should be a piece of cake to get
into. However, after that I have bigger goals- the Birmingham Museum and Art
Gallery and the Ikon gallery would be ideal as they are in my home city and
well known. Currently there is a large open-air exhibition of Yann-Arthus
Bertrand "Earth from the Air" prints in the city centre which is getting a
lot of attention, but I don't think i'm likely to get that sort of exposure
(yet...). Ideally i'd like one day to have published some books, and I think
having exhibitions under my belt would make publishers more likely to sit up
and look.
Unfortunately, I was going to enter this years' National Portrait Gallery
Portraiture awards, but I fear I left it too late and would have to rush to
submit anything in time. I plan entering next year, when hopefully i'll have
better shots to submit.
TP
>
>Well, i've already exhibited at a gallery in London as part of a collective
>of graduating students (http://www.2wentyeight.co.uk). We clubbed together
>some money, got the space for a week, had an alcohol-fuelled opening night
>and had a darn good time. Also, the store I work at has a gallery above it
>which, as it's free and non-profit making, should be a piece of cake to get
>into. However, after that I have bigger goals- the Birmingham Museum and Art
>Gallery and the Ikon gallery would be ideal as they are in my home city and
>well known. Currently there is a large open-air exhibition of Yann-Arthus
>Bertrand "Earth from the Air" prints in the city centre which is getting a
>lot of attention, but I don't think i'm likely to get that sort of exposure
>(yet...). Ideally i'd like one day to have published some books, and I think
>having exhibitions under my belt would make publishers more likely to sit up
>and look.
>
>Unfortunately, I was going to enter this years' National Portrait Gallery
>Portraiture awards, but I fear I left it too late and would have to rush to
>submit anything in time. I plan entering next year, when hopefully i'll have
>better shots to submit.
After reading the above, and knowing something about you from your
postings here in the last couple of years, I remain mystified why you,
of all people, would need to ask advice about promoting your work.
Martin Francis
news:fuc0g0havrb4epjlr...@4ax.com...
> After reading the above, and knowing something about you from your
> postings here in the last couple of years, I remain mystified why you,
> of all people, would need to ask advice about promoting your work.
rpe35mm is above all a mine of useful experience. There are people in here
who have photographed for a living, exhibited their work and sold prints- I
have never done this. I would quite like to, and I would like to learn as
much as I can before I start.
Gordon Moat
> . . . . . . . .
>
> Well, i've already exhibited at a gallery in London as part of a collective
> of graduating students (http://www.2wentyeight.co.uk).
Nice looking site, with some good image examples.
> We clubbed together
> some money, got the space for a week, had an alcohol-fuelled opening night
> and had a darn good time. Also, the store I work at has a gallery above it
> which, as it's free and non-profit making, should be a piece of cake to get
> into.
Definitely do not discount showing almost anywhere. You might find that you
become more selective later on, but when you first start, go with any location.
> However, after that I have bigger goals- the Birmingham Museum and Art
> Gallery and the Ikon gallery would be ideal as they are in my home city and
> well known.
Perhaps the Tate, or Sacchi . . . comments?
> Currently there is a large open-air exhibition of Yann-Arthus
> Bertrand "Earth from the Air" prints in the city centre which is getting a
> lot of attention, but I don't think i'm likely to get that sort of exposure
> (yet...). Ideally i'd like one day to have published some books, and I think
> having exhibitions under my belt would make publishers more likely to sit up
> and look.
My roommate has a few books on Y-AB. Quite an amazing photographer, and a real
hard worker. Of course, it took him years to really get noticed, but I think
that shows that perseverance pays off.
>
>
> Unfortunately, I was going to enter this years' National Portrait Gallery
> Portraiture awards, but I fear I left it too late and would have to rush to
> submit anything in time. I plan entering next year, when hopefully i'll have
> better shots to submit.
You should try the Oskar Barnack Prize, or one of the Hasselblad competitions.
Of course, since you want into publishing, investigate Surface* magazine. Sorry
I did not respond to your publishing part of your original question. It is
tough building the resources of contact data, and interest lists for
publications. If you want to e-mail me off group, I can give you a few to check
into; I think it is getting outside the scope of the group to just post them
here.
I hope you don't mind me saying so, but I think we are on a similar level of
professional photography. What I mean by that is each of us is looking to
expand our abilities, and get our names around more. Not to say that we would
be competing, since I am glad to help you out with resources.
TP
>
>"TP" <t...@nospam.net> wrote in message
>news:fuc0g0havrb4epjlr...@4ax.com...
>> After reading the above, and knowing something about you from your
>> postings here in the last couple of years, I remain mystified why you,
>> of all people, would need to ask advice about promoting your work.
>
>rpe35mm is above all a mine of useful experience. There are people in here
>who have photographed for a living, exhibited their work and sold prints- I
>have never done this. I would quite like to, and I would like to learn as
>much as I can before I start.
Funny, I saw you more as a *source* of such knowledge. As for people
here "who have photographed for a living", there are now very, very
few compared with the numbers, say, a year ago.
The arrival of the SI lies at the root of that, aided and abetted by
the singularly useless postings from the likes of Steve Young, Lionel
and Preddy (and all variants thereof).
Dallas
Hey Polson, I got an email from a certain Andrew Polson today. He works
for Bowens International. Relative of yours?
--
Dallas
Group guidelines on http://www.aliasimages.com/rpe35mmur.htm
Improve signal to noise ratio by filtering all crossposts.