008 stew hanging briefing 10 02 14

If you don’t know where you’re
going, how do you know when
you get there?
going, then it is best to surround
a problem in order to solve it.
going, then any road will get you
there.

• STEW
– Creating work - issues
– Publicity – on its way
– Hanging – Fixings - meaning

role
what is your job?
what do you do?

visibility
let people know that you exist
illustrate activity
advertise your activities past – present – future
share – 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 meetings
personal database and mailing lists
use and build

digital tools
blog
databases – appropriate?
online portfolios
social networks – appropriate?
website
forums – appropriate?

http://www.a-n.co.uk/jobs_and_opps/shortcut/article/92660

http://www.an.co.uk/jobs_and_opps/shortcut/article/345238

http://www.an.co.uk/jobs_and_opps/shortcut/article/168331

physical tools
CV
business card
portfolio
images/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
Creative expertise
Flexibility Initiative
Communication skills

Experience
Enthusiasm
Commitment
Reliability

How to make yourself visible
Know your audience
Make contact
Have clear marketing tools and be honest
Project a positive image
Provide strong references
Show your initiative/independence
Be 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.

008 stew hanging briefing 10 02 14

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008 stew hanging briefing 10 02 14