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Degree show preparation and meetings

these notes were taken over two sessions, do discuss floor plan and allocated spaces.

We discussed several plans of options for the floor plan for the degree show space which was eventually agreed on and angus made a model of the space to allow us to visualise who goes where and why. (the image of this is below).

We also discussed initial refreshments for opening night (we’d 31st may).

In the images above- my notes show that have also discussed the “shared spaces” (no divider) in order to make more spaces for people. This is because we are 10 boards short to allow everyone their own intimate space. To counteract this we have created 2 “mercedes” boards which fit six people.

We have also tried to separate people with similar thematic and contextual work- this means that there is no overlap or confusion about people sharing spaces and to give everyone their own focus.

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Evaluation 2

Evaluating promotional elements for degree show, assessing positive/negaitve traits.

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Promotional contributions to degree show

There has been fliers made to promote the degree show, with important information. When and where it is happening, what degrees will be exhibiting work.

As well as invitations which allow everybody to invite 5 people. Each form of marketing/invitation has the same format, colour scheme, and imagery. This ensures a more professional outcome by unifying the marketing components.

A guest list is being collated by everybody, to invite any notable people such as Richard and Poi from GI, interviewers from Masters courses as some mentioned they were interested to come to our degree show.

Below are images of the Newsletter entry, a Flier and special guest private viewing invitations.

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group discussion and organisation.

floor plan.

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Degree Show planning and involvement

I have volunteered to be a part of the curator team for our Degree Show. I have listened to Richard and Poi talk about the challenges they have faced during their careers working with artists and solutions to overcome them. One thing that Richard suggested was making a miniature model of the show. I think this would positively affect our decision-making as there are four of us, as well to visually analyse the degree show without wasting time on install day. 

We will hopefully have a rough idea beforehand as we are allocating one person for each group to read proposals and write down key points. This will include contextual and thematic information as well as any set-up requirements. 

Elements of the show that we have discussed so far:

Marketing

Invitations: Organising an invite list on-top of the college events invitation list and writing up an exciting and professional statement.

Posters: Distribution locations as there is a poster being made by other degree's.

Display

Leaflets: These will include a numbered map of the space and our names. As well as a QR code to link to a website with out artist statements.

Name plates + artist statement: It is important to have a consistent flow throughout the show, this means that both Design and Photography degree show need to work with us to come to an agreement on how we want the space to look. This is important because we want a unifying show, even if they are separate degrees it shows a level of professionalism. There are also assigned proof-readers to make sure the content is appropriate and grammatically correct.

Curating

Miniature model + Floor plan: We will create a model out of foam board (the layout of the show will be simple - just white boards) but firstly need to assess requirements and number of boards. This will include photographs and dimensions of work and we will need to work with the design team. Because the deigns degree is involved we need to come to negotiate the space to figure out what works the best.

Read degree show proposals: This will include contextual information and thematic information for curators to collate and assign appropriate spaces. We will need to take into account any electronic requirements like plug sockets, monitors or projectors. As well as assessing who requires natural light or limited lighting.

Paint boards: This might not be relevant but it is incase the boards aren't pristine. We need to uphold a level of professionalism.

Deadlines: We have provided each group responsible for having things on time with deadlines. This makes sure everyone is organised.

Catering: We need to discuss with Evelyn what is possible for catering, and the budget for that.

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Glasgow International

talks with Poi Marr and Richard Birkett

notes:

notes on degree show curation:

One aspect that stood out to me was Richards's comments on the word curation originating from care. Explaining that curators need to take care in the work that they are helping to exhibit, which needs to complement the artwork visually and contextually. He placed emphasis on speaking to the artist in detail about wants and requirements. And it is important to leave room for negotiation and compromise. I found Richard and Poi's talk to be very helpful.

Richard also suggested creating a model of the show, which I think will be implemented as we don't have a lot of time to install and listen to everybody's needs and wants. Having a model present will allow us to visualise the space.

They chatted about the sacrifice and sustainability of the Glasgow International Festival, and how it is difficult to juggle providing the best exposure for less-known artists if they want to pay everybody a fair wage.

They also spoke about how different festival directors change the scope and feel of the festival, and every year differs in scale. This is also due to limited venues, as the council hold properties for bigger and more financially sustainable events.

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Degree Show Proposal

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Degree Show... promotional aspects

For my degree show I am going to include (other than installations) both QR codes that link to my creative practise instagram and business cards with my email, instagram and name on them.

i am doing this because these are both components that I appreciate when seeing a show, and I like taking home business cards to see the artists' other works, current pieces and to keep as a memento.

QR code to my instagram

Cost: £20.33

I mainly just want to give degree show attendants access to my Instagram as that is the most accessible place to be contacted, as well as my professional email.

Instagram is my main focus as I do not have the resources to keep a website going (too expensive, particularly for an Adobe website as I do not have the means for making money through my art just yet). And Instagram is an easy and accessible tool for myself and others to view artworks and connect.

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Evaluation 1

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GOMA Domestic Bliss, touching on the buildings past by exhibiting artists' that comment on feminist themes (like mentioned: domestic labour, public and private space, intimate relationships, historical narratives).

This is an ongoing piece of artwork, which progresses when the artist is physically sat making at this table in the gallery. Commenting on public and private spaces, the artist is occupying GOMA as a working space for her professional practice.

Goma included some contextual and quite witty inclusions to these pieces. Making the space into a room by adding a sink under the cabinet and a fireplace and platform under the photograph. The photograph is a depiction of a typical lived-in family home, messy and cluttered, the shot was taken mid-action so the posing is messy as if an accident has just happened.

As well as adding in more comfortable-looking chairs which are dissimilar to the usual hard, practical and sturdy chairs we usually see in galleries. This was a nice touch which added to the atmosphere of the exhibition.

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GOMA / Taste!

This Taste! exhibition is a display of the GOMA's art collection alongside contextual and informational elements from the archive (sketches, newspaper articles...). As you can see in the description below, this exhibition's main purpose is to explore the intricacies of decision-making when it comes to curating work together.

This exhibition takes visitors on a journey through different artists' work, including sculptures, paintings, prints and videos... and creates a synonymous tour of the complementary properties of the artworks. It begins with discussing the mechanical aspects of sculpture in conjunction with the materialistic pop-art style screen prints of Warhol and Paolozzi, which then moves towards the stylised almost caricatures of Beryl Cook's figurative paintings. Cook's paintings are shown next to Stanley Spencer's, which share similar stylistic properties but provide variety in subject matter as well as identifying their generational differences. (There is a more in-depth and intentional explanation printed on the walls below.)

Again, moving on in a systematic way there is a video playing by Fischii/Weiss. This video is playing a series of events caused by the previous action, like a domino effect, which sparks a childlike joy in the audience. These events are that of discovery and a mixture of clever and hilarious mechanisms, I see this video as humorously personifying the actions of the objects and bringing life to them.

On the other hand, earlier in the exhibition, are Paolozzi's sculptures which are very mechanical, structured and sturdy and, to me, convey quite a valid yet unemotional atmosphere. Pairing the likes Warhol with them, again unemotional and machine-like (corporate, celebrity and advertising), particularly his infamous use of copying the same imagery and repetitious prints.

By playing Fischii/Weiss in conjunction to these artists it reminds the viewer of the joyful variety and synonymous themes within art. There are different scopes for every piece of work, and every concept.

The gallery has used typography on the walls to encourage visitors to continue their journey through to the next room.

“democracy has bad taste…how do we tell if something’s good, and who tells us that it’s good?”

The exhibit continues, as the description explains, the next artists' all are inclusive of using text in their work as a means of commutation atmosphere, theme and/or context.

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GOMA / RABIYA CHOUDHRY

Dad, 2018

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PATRIARCHS / NINA PEREG

Talbot Rice Gallery - Edinburgh 2023

Pereg's exhibition includes her work ISHMAEL (2015) and ABRAHAM ABRAHAM SARAH SARAH (2012), which conduct the first two parts of Pereg's PATRIARCHS trilogy. PATRIARCHS is a multi-channel video installation on the upper floor of the Talbot Rice Gallery in Edinburgh.

Pereg is looking at the Israel/Palestinian conflict, and the brutal and complex segregation of religious groups. Specifically, the artist is specifically addressing the Cave of the Patriarchs in Hebron, which is a city in the occupied Palestinian territory of the West Bank. The Cave of the Patriarchs is a very sacred monument in Islam and Judaism. It contains the tomb of the prophet and common patriarch Abraham and his wife Sarah. It is symbolic of the continuing religious conflict. There was a strict separation of Muslim and Jewish worshippers within the site following the 1994 massacre of 29 Muslim people. After this, 80% of the space was allocated to Muslim worshippers and 20% for Jewish worshippers.

Pereg has ambushed visitors with the calamitous noise and several screens playing videos. This is very sensually obtrusive, significant to the confusing and overwhelming nature of religious conflict and separation.

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LARA FAVARETTO

Talbot Rice Gallery, 2023

'Momentary Monument', The Library.

Lara Favaretto has created several of, what she calls, her 'Momentary Monuments' in the past. For this particular exhibition Favaretto installed a gigantic bookcase. Each book has been donated by libraries over Edinburgh and the Lothians, that would have otherwise been destroyed. Favaretto placed a printed image from her archives in all the books and invited the audience to take a book and an image, allowing visitors to dismantle her work. The books are redistributed throughout bookshelves in Edinburgh.

Source:

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QIU ZHIJIE

Talbot Rice Gallery, Edinburgh 2023

Zhijie occupied the Georgian gallery in the Talbot Rice, this exhibit incorporated the atmosphere of the gallery amongst his work.

Through Zhijie's practice as a poet, calligrapher, critic and curator he combines cultures and knowledge systems in his work. This is evident in his intricate mapping that is situated throughout the whole gallery. What was originally a monumental paper and ink drawing has been split up into sections to fit the spaces on the walls. Personally, I would have liked to see the entire drawing as a single entity. Just because I think it would leave a much more impressive impact than if someone didn't know it was a singular piece of artwork.

However, I commend Zhijie for his creative inclusion of blacklight torches, this creates an immersive and exciting experience. And one of an explorative atmosphere in conjunction with the maps on the wall. The UV torches provide hidden translations of the script on the wall. The gallery has an upstairs balcony area, which provides several viewpoints to see the work on the floor below.

Images of the ambience of the gallery, the dark lighting allows the blacklight torches to be fully appreciated by illuminating the hidden messages.

View from above, getting a bird's eye view of the archaeological pits, allowing visitors to explore the objects and images. This gives the audience insight to "piece together the appearance of civilisation through these fragments".

Zhijie explains that his work is a commentary on his thoughts about territory, and ever-changing geopolitical landscapes (growth and decline of forces in conflict. These intense themes juxtaposed with the fantastical + fictional element create a wondrous experience.

sources:

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Research and Investigation

Hayley Tompkins

artworks/installations

This work is titled But I don't even think it's you (2022)

This platformed room is an example of some different ways of exhibiting sculptural work (the platform does not seem like it is originally part of the building), by painting the floor green, the artist is creating intrigue in the spectators. This poses questions of accessibility and distance, allowing the viewer to question their own position in the gallery and what the sculptures mean from the perspective that they are given. Incorporating interesting elements like this into exhibitions and installations also conveys that the artist has considered the viewership properties. Because of the works she has included in the exhibition Far, Tompkins is questioning distance and the space between the viewer and an object. This platform is a stylistic representative of this space, as objects are far away the audience wants to see closer but cannot- we are given an opportunity to view the work from a different angle but this is also specifically forcing us to observe with limitations.

This is evidence of the artist's understanding of her exhibition, and conveying this successfully to the audience through experiencing the installation as well as interpreting the work as they are (the intricacies of exhibiting artwork work with , rather than against, the premise of the show...).

wall mounting:

The Shirt Says I Feel (2022) and Mallet (2022)

Throughout this exhibition, Tompkins has painted on everyday objects (earlier in the show she exhibited painted chairs, I just don't have any photographs of them), and this echoes the artists intention of using paint in a way to transform ordinary things into being 'otherworldly' (Tompkins, 2022). This is the same case for these shirts, having been stiffened by paint and transforms these everyday useful objects into pieces of artwork.

From the images below, it is evident that the artist has nailed the objects to the wall. This is significant of Tompkins' intention for these 'shirts', as she is intentionally exhibiting them as objects, not a costume that is to be worn, they aren't on hangers or mannequins (both intended for displaying clothing).

paintings and supplementary mounted objects:

Speak Removals, Speak Driver and Speakpatched (2022)

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Research & Investigation

Hayley Tompkins

In Hayley Tompkins' exhibition 'Far', she has included some very helpful and accessible additions such as leaflets, QR codes, a video of herself discussing her work/process and some books that she is included in. All of these provide context to her work and the exhibition. Context is important to create a connection with visitors and to cause a deeper understanding of the work, this also enables the artist to curate a thought process for the viewer, as art with no obvious context can be completely subjective. Subjectivity within art is important however, in some cases, the artist is promoting an intentional understanding to the viewer.

informational leaflet

informational video:

Providing a video furthers this idea of creating an intentional understanding, as the artist is talking through her context and process. Not only can you hear the artist but there is a visual representation, closing the gap between the artist and the spectator.

By including subtitles, this clearly is inclusive of deaf visitors as well.

feedback/comments and books:

Feedback/comments furthers this narrative of closing the gap between artist and spectator, by actively seeking feedback and comments as the exhibition is a way of showcasing their work in the best way possible for the public to enjoy and witness. This also signifies a need for improvement from the artist.

Transcripts for audio labels: Providing a more inclusive way for people to see the exhibition, for people with hard of hearing or that are deaf are still able to understand and take in the same information. By having one transcript book this also cuts down on waste of paper, instead of having many several leaflets printed, this book can just be read for a short amount of time and then placed back for the next person to observe.

Books are also very helpful for the public to read through, as this engages people in different ways who wish to know more. It is also inclusive of a wider range of themes and works that the artist has completed, with varying concepts and areas of knowledge. As well as closing the gap between artist and spectator, allowing exhibition visitors an instant insight into the artists'

QR codes:

QR (quick response) codes are a brilliant idea, providing QR codes means lots of good things in my opinion...

It's a less disposable method of providing information and insight into the work by using less paper. A QR code is a photographable link that enables the user to be taken to a website. In an artistic context, this usually means the website contains a playable audio file. These can be saved and listened to later, or played presently.

Artists' having the ability to talk to their viewers in their own voices about their own work through a QR code provides more positive insight into the exhibition. Their work/process/inspirations/methods can be translated more effectively if it is spoken in the artists' own voice.

QR codes are cost-effective to display and print, as well as having the ability able to track engagement. This is useful for being able to market yourself in the future by being able to provide accurate personal analytics.

Overall, I think that Hayley Tompkins has gone to a great effort to provide insight, context and positive personal touches to the enjoyment and understanding of the viewer.