Working on a show as a group case study

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A Presentation on Final Exhibition Preparation
Created by Daniel Freaker
Based on the work by Mary Clough a student at Chichester College


Overview:
•One of the things the student discovered during this process was how many different aspects
their were to putting up a show, how emotional it can become, how to work as a team and
how to maximise exposure.

•Most of all, they learnt that it was so much more than simply producing a piece of artwork
and then sticking it against a white wall.

•Showing this presentation to your students and then discussing their upcoming show, may
bring some things that were originally at the bottom of the priorities list to the fore.

This is a case study on how a student has documented the experience of holding an
exhibition.
The process starts with a meeting of the whole studio group to discuss initial details like:
dates, the space and how to make it inviting.

Research on exhibiting:
There is plenty of material out there to help students present their work more effectively.

Advertising:
Some of the group are allocated the role of managing the publicity for the event and some
brainstorming goes into what methods they could use.

Advertising:
Some thought goes into the size of the publicity material and how to distribute it.

Title of Show:
The whole group presents ideas for the title of the show and there is a vote on which is the
most successful title to use on all publicity materials.

Publicity:
Posters and invites are created by different members of the group and the best are selected
for use.

Ambiance and feedback:
Many of the group would like there to be an ambiance at the exhibition and consider using
audio. It is important that they consider anyone with audio in their work and how it will be
affected. They also want to record feedback from the audience.

Personal Publicity:
In some exhibitions, everyone will make individual business cards and publicity. However,
there is potential for the group to agree on a standard format like postcards that may mean
cheaper costs and a more unified look.

Postcards:
The group decides as a whole what information a card should contain for maximum exposure.

Postcards:
They consider whether their should be a uniform format for the postcards and decide against
it, but look at examples of postcards that they have collected from other shows and analyse
them.

Business cards:
They also analyse examples of business cards and how effective they can be.

Business cards:
There is further individual analysis and reflection on different kinds of visual presentation of
business cards.

Artists statements: In an exhibition there is potential to consider the audience and whether
they should be provided with further information on the artist, where they are progressing to
and details about the work. This can take many forms, not only a written text next to the
artwork. This group choose to have numbered work and a central place for information.

Personal marketing:
Including ideas for own publicity enables discussions with tutors and peers about the
effectiveness.

Personal marketing:
Having just a detail of the work on the postcard, rather than the whole piece of work made
this student think they could entice the audience to want to find out more. It also meant that
they could print the postcard in advance of actually completing the work.

Personal marketing:
The student explores creating their own logo to represent them on the publicity material.

Personal marketing:
She then compares and contrasts this with other designs and compositions.

Personal marketing:
Taking the idea of drawing the audience in with signs and symbols, she considers having just
the logo on one side of the postcard.

The space:
To make things fair when hanging the show, the students take charge of the process, but it
could be done by the course leader. Each student gives an outline of what they will present
and what they will need.

The space:
Preliminary drawings can be done to help organise and arrange the work before finalising
who gets what space. This reduces the chance of students feeling demotivated later.

The space:
Some students want to present work in unusual spaces and ways. The whole group looks at
whether this could be possible and consults the health and safety officer on all aspects of the
exhibition.

Requirements:
Students may have access to plinths or shelving that the need, but frequently they want a
specialist piece of equipment building.

Requirements:
There can be research into how to actually construct these kinds of materials, whether it is a
shelf…

Requirements:
…or a plinth. Access to this kind of learning resource can significantly reduce the time
lecturers will have to spend explaining issues with the construction and may mean that
students think more deeply about how they present work.

Requirements:
Even simple information on how to hang a painting is valuable as some students may never
have done this before.

Refreshments:
There is a discussion about the refreshments and how it can be organised. Should there be a
rota of who looks after the bar or can they get a frend to look after it?

Refreshments:
Some consideration of how to actually purchase the refreshments and economise on cost.

Refreshments:
There is thought put in to where the refreshments should be placed.

Final production:
Documentation of the production process allows the student to reflect on the creative
decisions taken.

Preparation:
Ensuring that the whole studio group contributes means that each member feels they have
been treated fairly. Requiring documentation of this process also makes it seem a relevant
part of the production process.

Curating:
Working together as a group on the presentation of the artwork necessitates that the work is
actually complete before curating takes place.

Curating:
It also means that the evaluation of the work will include consideration of how it is presented
in the exhibition.

Evidence:
Photographing it in situ means that the portfolio of evidence is comprehensive.


Summary:
Considering the process of exhibiting pulls the group together and ensures fairness and
collaboration through discussion of:

•Dates and times of show and private view
•Researching material on how to put a show up
•Considering advertising media and methods
•Discussing a branding or cohesive visual approach to artist and exhibition information
•Agreeing on a title and visual for the exhibition
•How valuable is feedback from the audience and how to collect it


Summary:
It can also help find better solutions for:

•How to create an ambience or feel at the exhibition
•Health and safety issues in the whole groups’ work
•Possibilities for personal promotion and marketing
•Refreshments and hospitality
•Equality in maintenance and preparation of space
•How to construct presentation and materials for exhibition
•Allocation of space

Working on a show as a group case study

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