#and go to the artists studio and oversee all the packaging and handling

[otrtbs]

would y’all believe that i have to go to [redacted] tomorrow on a business trip at 4:30 am to pick up and ensure the safe delivery of $172,000 worth of art to my museum ???? would you believe me if i told you i found out just monday afternoon that i was going for sure ?????

[govindhtech]

How AWS Deadline Cloud Streamlines Your VFX Pipeline

Deadline Cloud Rendering

AWS Deadline Cloud Concepts

With AWS Deadline Cloud, you can create and oversee rendering jobs and projects on Amazon Elastic Compute Cloud (Amazon EC2) instances by using DCC pipelines and workstations. You can build fleets, a rendering farm, and a group of queues. Your submitted tasks are put in a queue and are scheduled for rendering. A fleet is a collection of worker nodes with the capacity to handle many queues. Multiple fleets may process a queue.Image credit to AWS

Reach the Deadline Cloud

For teams producing computer-generated 2D and 3D graphics and visual effects for motion pictures, television programmes, advertisements, video games, and industrial design, AWS Deadline Cloud is a fully managed solution that makes render management easier. You may increase the productivity of your rendering pipelines and take on more projects by using Deadline Cloud, which makes it easy to start up, launch, and scale rendering projects.

Deadline Cloud’s advantages

Launch more projects concurrently, move rapidly, and enhance cost control

Within minutes, set up a fully managed cloud render farm

Deadline Cloud’s streamlined setup shortens deployment times from months to minutes, making it simpler to establish a render farm without having to handle backend infrastructure.

Boost control, visibility, and cost planning

You can control rendering costs and maintain budgets with the help of built-in cost management features, which include project-by-project use monitoring and budget setting. Pay as you go pricing and usage-based licencing let you only pay for the resources you use.

Expand ability to manage many projects concurrently and assist in meeting deadlines

With Deadline Cloud, you can take on new projects, render complicated assets, shorten production schedules, and better meet difficult turnaround times by scaling thousands of compute instances up and down minute by minute. After you’re done, reduce in size.

Utilise the integrated tools and integrations to expedite pipeline customisation.

Offering a wide range of customisation options and pre-integrated connections with well-known digital content development programmes including SideFX Houdini, Autodesk Arnold, Autodesk Maya, and Foundry Nuke

More is provided by Deadline Cloud for your rendering job

Concentrate on completing innovative projects with integrated tracking tools and a streamlined setup.

Get going right away

The dashboard and step-by-step setup wizard offered by AWS Deadline Cloud facilitate the creation of a cloud-based render farm. Once your render farm, studio, and connectors are configured, you can install plug-in packages to add tools and user interface components for a seamless experience. To provide task characteristics such as the frame range, render layers, and other application/render software choices, your artists use the plug-in user interfaces in their preferred software programmes.

Organise all of your rendering tasks in one location

Creative teams may execute multiple projects concurrently with AWS Deadline Cloud and cut production times without worrying about capacity constraints. You can manage all of your rendering projects in one location with the help of Deadline Cloud’s unified UI. You may monitor your farm, control your render tasks (including changing job statuses and priorities), and see logs and job status using the Deadline Cloud monitor. Users may be managed, projects can be assigned to them, and job role rights can be granted.

Control resources and spending

Deadline Cloud has built-in budget management tools to help you better understand rendering expenses on a project-by-project basis, along with pay-as-you-go pricing to guarantee you only pay for the compute you need for rendering. You may build and modify budgets using the Deadline Cloud budget manager to assist with project expense management. You can see the number of AWS resources utilised and their expected prices with the Deadline Cloud consumption explorer.

How Deadline Cloud may be used by creative teams

Change and adapt to fit the needs of creative endeavours.

Visual components

With support for digital content development (DCC) technologies like Foundry Nuke and SideFX Houdini, you can manage more complicated VFX and simulations. You can also connect the necessary software with the customisation tools that are offered.

Motion Pictures

With quick setup and support for programmes like Blender, Maya, and Arnold, you can quickly onboard artists and maintain production cycles with minute-to-minute scalability.

Visualization and design of products

Make it easier for designers, engineers, and architects to get render capability so they can process product renderings, simulations, and visualisations in more detail.

Cinematics from games

Integrated support for SideFX Houdini, Chaos V-Ray, and Unreal Engine speeds up the creation of cut sequences, trailers, and game cinematics.

Use Deadline Cloud to begin rendering

Start using AWS Deadline Cloud now

With only a few clicks, install plugins for your preferred DCC apps, define and construct a farm using Deadline Cloud monitor, and download the Deadline Cloud submitter to get started with AWS Deadline Cloud. Within the user interfaces of the plugin, you may specify your rendering tasks in your DCC application and send them to your generated farm.

After determining what scene data is required, the DCC plugins create a work bundle that uploads to your account’s Amazon Simple Storage Service (Amazon S3) bucket, transfers the task to Deadline Cloud for rendering, and delivers the finished frames to the S3 bucket so that your clients may see them.

Use the Deadline Cloud monitor to define a farm

First, let’s describe your farm and build the architecture for your Deadline Cloud monitor. To build a farm with a guided experience, choose Set up Deadline Cloud in the Deadline Cloud interface. From there, you can add groups and users, configure queues and fleets, select a service role, and tag your resources.

Select Skip to Review in stage 3 after monitor setup to select all of the default settings for your Deadline Cloud resources in this stage. If not, choose Next to personalise your Deadline Cloud resources.

Configure the infrastructure of your monitor and type the display name of your monitor. With this name, the online interface for managing your farms, queues, fleets, and usages is called Monitor URL. Once setup is complete, the monitor URL cannot be changed. Your rendering farm is physically located in an AWS Region, so if you want to lower latency and increase data transfer rates, choose the Region that is closest to your studio.

You can manage users (assigning them groups, rights, and apps) and remove users from your monitor by logging in. You can also add new users and groups. In the IAM Identity Centre, you can also manage users, groups, and permissions. Therefore, you need activate the IAM Identity Centre first if you haven’t already set it up in your region. See Managing users in Deadline Cloud in the AWS documentation for further information.

Step 2 allows you to provide farm specifics like your farm’s name and description. You may give tags to AWS resources for filtering your resources or keeping track of your AWS expenses, and you can configure an AWS Key Management Service (AWS KMS) key to encrypt your data under the Additional farm settings. By default, AWS owns and controls the key that is used to encrypt your data. You may change the encryption key by adjusting the encryption settings.

If you want to quickly complete the setup procedure with the default options, you may choose Skip to Review and Create.

Currently accessible

Amazon Deadline Cloud is currently accessible in the following regions: Europe (Frankfurt), Asia Pacific (Singapore), Asia Pacific (Sydney), Asia Pacific (Tokyo), US East (Ohio), US East (N. Virginia), US West (Oregon), and Europe (Ireland).

Read more on govindhtech.com

[officialriax8]

Endeavor Impact "The Excellence Program"

The primary dealmaker for a client is the agent - Within the entertainment industry, a talent agent is the person who makes deals for their clients - they book actors, musicians, writers, or directors, etc. for work. A talent agent is considered the chief steward of a client’s career path, helping with career development, branding, public relations, and networking. They represent talent, pitch actors for roles and negotiate their fees, field scripts, ideas, and IP to talent, help decide which roles actors are right for, and help studios package projects.

The primary roles of a publicist is overseeing the public image of a client, managing media relations, and coordinating publicity events - A publicist oversees the public image and manages all media relations of a celebrity client, which can include famous actors, singers, authors, and sports stars. They also typically coordinate publicity events and make sure the client knows where to go, what to do, and what to say. This also includes handling client publicity and corresponding travel, books clients in promotional media (talk shows etc.), and helping to manage social media profiles.

The manager is typically the closest person to the talent, and dedicated to supporting professional growth as well as the personal life of the talent - A manager is oftentimes the closest person to the talent. This individual is dedicated to supporting the professional growth and personal life of the talent. Their primary function is to provide guidance. Managers are typically not the ones setting up auditions or negotiating contracts (legally, that is the agent’s responsibility).

Copyright infringement means to steal or use copyrighted material without permission - Copyright is the exclusive rights granted to authors and composers for protection of their works; Copyright Infringement means to steal or use someone else’s copyrighted material without permission.

Record labels are members in the music ecosystem who are responsible for pushing out an artist's music (e.g., A&R, marketing, promotions etc.) - A record label is the engine behind pushing the artist’s music out to the world. They handle A&R (getting the artist in the room with the best songwriters and producers), and Marketing and Promo (making sure the music and/or creative content is seen and heard).

Tik Tok is currently a social media platform people use to scout upcoming artists (especially gained popularity during the pandemic) - During the pandemic, TikTok became the preeminent platform for breaking new music and creating viral hits. To scout upcoming artists, many people in the industry keep an eye on “Viral Charts” to see who has the biggest songs each week. It can be a good metric to see who has the most buzz or heat on them at that current moment in ranked order.

Tracking an artist means to continuously be aware of what an artist is doing (social media + streaming stats, recent releases, etc.) - Tracking an artist means to continuously be aware of what an artist is doing (social media + streaming stats, recent releases, etc.). Signing an artist means entering into an agreement with an artist and their team to be their exclusive representative.

100% headline billing means the artist's name will be in the largest font in the most prominent position on promotional materials - On any advertisements, posters, etc. a Headliner will have 100% headline billing, meaning their name will be in the largest font in the most prominent position.

UPMG, Warner Chappell and Primary Wave, are examples of publishing companies - Publishing is the business of promotion and monetization of musical compositions. Music publishers ensure that songwriters receive royalties for their compositions, and also work to generate opportunities for those compositions to be performed and reproduced. Examples of publishing companies include UMPG, Warner Chappell and Primary Wave.

A buyer / promoter sells tickets, operates the venues, and advertises the show - Sells tickets, operates the venues, and advertises the show. They make an offer of employment to the agency for a desired client.

AEG is an example of a promoter - A&R

The primary role of a tour manager is to handle production and makes sure everything runs smoothly - The tour manager goes on the road with the artist, handles production, and makes sure everything runs smoothly before/during/after the show.

[gystink]

Job: Exhibition and Collection Manager at Mills College (Oakland, CA)

Exhibition and Collection Manager Mills College Oakland, CA

About Mills College:

Located in Oakland, California, in the heart of the San Francisco Bay Area, Mills College is a liberal arts college for women and gender non-binary students, with graduate programs for all genders. Consistently ranked one of the top masters universities and one of the best value colleges in the West by U.S. News & World Report, Mills also has been named one of the Best Colleges in the nation by The Princeton Review. The Mills experience is distinguished by small, interactive classes, one-on-one attention from exceptional faculty, a culture of creative experimentation, and cutting-edge interdisciplinary learning opportunities which empower students to make a statement in their careers and communities. As https://www.mills.edu/uniquely-mills/facts-about-mills.php in the country, we have a strong record of academic success with first-generation students, students of color, Latinx students, LGBTQ students, and other underrepresented students. Mills College has recently become a Hispanic Serving Institution. Applicants with expertise and experience in supporting and promoting success for Latina/o students are encouraged to apply.

Mills College encourages diversity in hiring and particularly welcomes applications and nominations from women, gender non-binary individuals, and minorities. Mills College seeks to recruit and retain a diverse workforce as a reflection of our commitment to equity, inclusion, and social justice and our desire to maintain the excellence of our faculty. In so doing, we offer our students not only the opportunity to learn about varied disciplines but to engage with diverse perspectives and ways of knowing and learning. For more information, please visit https://www.mills.edu/

Job Description: 

Under the direction of the Director of the Art Museum, the Exhibition and Collection Manager at the Art Museum is responsible for managing the physical and logistical aspects of the museums exhibition program; overseeing the care and record-keeping of the museums permanent collection; and for supervising student employees and contract professional art handlers working in these areas. This position advances goals set out in the Mills Mission Statement and Strategic Plan by ensuring the long-term care of a vital academic asset on campus (the permanent collection and museum facility) and providing professional oversight of exhibitions that enhance the intellectual and creative life of the Mills community and the larger Bay Area. 

Essential Job Functions: 

• Plan, schedule, and direct the fabrication, installation, deinstallation, and return of museum exhibitions.

• Arrange for the transport of exhibition materials.

• Identify vendors/contract workers and evaluate quotes to ensure budget compliance. 

• Recruit and supervise contract art preparators. 

• Train and manage student employees on best practices for art handling and registrarial duties as appropriate. 

• Develop and maintain systems for accessioning, deaccessioning, and generally managing collection of approximately 13,000 works of art.

• Serve as registrar in activities related to accessioning, maintaining records on artworks, arranging for transportation of artworks loaned from or to the museum, and managing contract conservation work on artworks.

• Organize and maintain orderly files and retrieval systems associated with exhibitions, acquisitions, accessions, deaccessions, loans, packing, shipping, customs, inventory, insurance, art conservation, and storage. 

• Responsible for maintenance and security of the building and collection. 

• Work with college legal office to assure that collections and exhibitions are properly insured against potential damage or loss.

• Develop short and long-term recommendations related to updating and maintaining exhibition and collection storage environments in accordance with established standards.

• Serve as co-instructor for the annual Spring Senior Exhibition seminar.

Additional Duties and Responsibilities:

• Communicate with guest curators and other contract staff, exhibiting artists, and the staff of partner institutions.

• Work closely with art department technical staff as needed.

• Provide timely information for the preparation and monitoring of budgets related to collections care, exhibitions, and renovations. 

• Recommend contract staff and other art professionals to allow for effective design and timely, safe installation of exhibitions; recommend same to care for, maintain, and make accessible the museums collection.

• Mat and frame collection works for exhibitions as needed.

• Explain techniques of framing, installing, and handling artwork to students. 

• Create opportunities for collection and archive engagement with students, faculty, outside researchers.

• Serve as the primary contact person for annual Senior and M.F.A exhibitions, through studio visits and technical consultation.

• A valid California drivers license and safe driving record is required. Driving is a requirement of this job.

Requirements:

Knowledge of:

• Proper artwork handling and moving procedures.

• Artwork installation techniques for a variety of media, including basic AV equipment.

• Museum registration, accession and deaccession, tracking, shipping, and insurance procedures. 

• EmbARK collection database software, or museum collection software equivalent.

• Using appropriate hand and power tools.

• Microsoft Office, PhotoShop, PowerPoint or equivalent imaging software.

• Basic photography and lighting techniques.

Skills/Abilities:

• Ability to meet schedules and time lines assigned; ability to plan and prioritize.

• Ability to handle multiple projects requiring independent execution.

• Ability to work under pressure and deadlines.

• Interpersonal skills, including tact, patience, and courtesy.

• Ability to establish and maintain effective and productive working relationships.

• Good oral and written communication skills.

Education and Training:

Masters Degree in Art History and/or Studio Art, or equivalent in education and experience. Specialization in museum or curatorial practice preferred. At least four years of curatorial, installation, and/or registration experience, preferably in a college or university museum. Experience supervising students and volunteers in a museum context. 

Physical, Mental and Environmental Demands:

Work involves entering collection cataloguing data which requires attention to detail and high levels of accuracy. 

Work occasionally involves physical exertion such as lifting heavy objects over 50 pounds.

Work occasionally involves working at heights of 20 feet.

The work station is located in an open office area. Interruptions and meeting with a variety of people will be required on a regular basis.

There are a number of deadlines associated with this position, which may cause significant stress. 

This position description is not intended to contain a comprehensive list of activities, duties, or responsibilities. Additional duties may be assigned based on business operational needs. 

Additional Information:

This is a full-time, exempt position with an FTE of 1.0. Salary is $54,000.00 annually and includes an excellent benefits package including medical/dental/vision/life/LTD insurance, 403(b) retirement plan with college-matching after 6 month qualifying period, 10 days of vacation for year one, 15 days of vacation for years 2-10, and 22 days of vacation years 10+ plus, 12 sick days and 10 paid holidays annually. Staff members also receive free admission to campus events, use of the pool, fitness center, and tennis courts. Tuition remission is also available after an introductory period. Voluntary benefits include: pet insurance, long-term care insurance, legal-assistance insurance, cellular provider discounts and computer hardware discounts.

Mills College does not permit discrimination based on pregnancy, childbirth or related medical conditions, race, religious creed, color, national origin or ancestry, physical or mental disability, medical condition, marital status, age, sex, sexual orientation, or gender identity. For more information on Mills non-discrimination policy, please go to https://inside.mills.edu/administration/administrative_offices/policies/nondiscrimination.php.

Please note that all positions may be subject to a background check.

Application Instructions:

To apply, please submit the following at http://apptrkr.com/1301030

• resume

• cover letter and

• contact information for 3 references 

Review of applicants will begin immediately; applications will be accepted until the position is filled.

Deadline: 12-31-2018

[nataliejonespf6-blog]

Marketing yourself as an Artist

I will be looking into the different ways and methods I can market my artwork. I have very little knowledge on this subject so I am hoping to learn something new and have an insight in the marketing world. Firstly, I think it’s good to have a marketing plan. It’s good to know what you are trying to achieve and how you hope to do this. This includes having a time frame, and realistic objectives, and deciding on what you will do yourself and what you need to pay others to do. Communication seems to be key; be sure to send regular invitations, by post or email, to all buyers and potential buyers. Notify them of all events in which you are taking part and any new releases that might be of interest to them. Email marketing and the Internet have made this extremely cost-effective: the cost of printing and post can often be avoided. Artists should be constantly thinking of ways to develop their presentation and image: look at packaging, design and the layout.  I will be researching the different things Artists can do to market their work. Selling your Artwork direct Many artists sell direct to the public as well as via galleries and publishers; as long as each party is informed as to what is going on there need not be a conflict of interests. Quite the reverse: artists who are proactive in developing their own reputations and client lists can be an asset to galleries and publishers. Depending upon the agreement you have with your gallery, you may get to keep all the sales proceeds when you sell direct (some galleries/agents take a lower percentage on sales artists generate themselves. While avoiding commission of course sounds appealing, some capital expenditure, as well as a lot of time and effort, is normally involved in selling direct. Some artists enjoy organizing open-studio weekends, taking stands at art fairs, etc., as it keeps them in touch with the demands of the marketplace. This direct involvement with buyers can prove fruitful in the development of their work. But there are many ways in which you can make direct sales.  Rented gallery space If you rent space you have to handle marketing and administration, and you need to have your own substantial client list. The effort involved in mounting a show should not be underestimated: staffing the exhibition; making decisions about publicity; designing, pricing and distributing posters, flyers and invitations; invoicing and accounting; delivering and hanging/installing artwork, etc. The main advantage of renting space is that it cuts out the gallery owner’s commission. But commission covers far more than just a gallery owner’s time and wall space; you are also benefiting from:their reputations and loyal clients their expertise in running exhibitions and selling art contacts for future purchases and follow-up sales. The more time you put into administration and marketing, the less time you have in which to work at your art. Rental fees need to be paid upfront whether the exhibition is successful or not, whereas a gallery’s commission is only payable on sold works.The terms and conditions imposed by galleries which rent out space vary considerably. Some stipulate that they must approve proposed exhibitions; some provide staff to oversee exhibitions and help with selling, etc. Rented galleries can be either privately or publicly owned.The rent that different galleries demand varies enormously. Consumer art fairs These can range from small local events in church halls to shows that are marketed via the national media and held at household-name venues. There may be just a handful of artists taking part, or there may be hundreds. Consumer art fairs may be cooperative, commercial or publicly funded.  Trade exhibitions Large gift and interior-design exhibitions give artists the opportunity to reach galleries, publishers, department stores and other trade buyers. They are generally attended by international and UK buyers and are a way for artists to establish a wide range of channels of distribution and repeat business. Some exhibitions have sections with affordable stands to rent, specifically aimed at artists. Organizers are keen to attract new talent each year, and so might even be able to put you in touch with public and charitable funds that will help cover exhibiting costs. The internet Virtually every business now has its own website, so it follows that a website could play an important role in reassuring buyers and gallery owners that you are committed to your career. Many artists find that their site generates a lot of business from both new and existing clients. Before you start, it is important to consider what you want the site to achieve and how much time and money you realistically want to invest in keeping it updated. Some artists see their site as a low-key presence on the web that will enable people to find and get in touch with them, and to which they can direct customers to view a selection of their work. Others want a more proactive site: they are prepared to spend time and money staying at the top of search engine lists, and may even have invested in ’secure shopping’ software so that they can make sales over the Internet.  Field sales Most retail buyers will not see a sales person without an appointment, and many will not give an appointment without a referral or recommendation. However, many artists do succeed in selling their work by establishing relationships with galleries and then visiting them regularly with new stock. This type of trading relationship is most likely to develop between self-publishing artists selling reproduction prints and their galleries. Sometimes initial contact is made at a trade show, or the gallery gets in touch with the artist in response to an advertisement or mailshot. Publicly funded opportunities Millions of pounds of public money is given to artists in Britain every year. It is important to keep in touch with local councils and their galleries, and to be aware of their arts policies.Opportunities for exhibiting include publicly-owned exhibition spaces and galleries, as well as galleries that are partially funded by public money, among which are: -national galleries -regional art galleries -spaces funded by local councils -arts centers that receive both public money and private sponsorship -art colleges and adult-education centres -community centres, town halls and libraries. Publicly funded patronage might include: -awards, scholarship programmes and competitions -grants for specific projects -subsidized studio space or conversion grants -exhibitions and exhibition spaces -allowing local artists to hang work for sale in public buildings -commissioning or buying works for public buildings and schools -a policy to develop a collection of works by local artists -employing artists to work with schools or prisons -computer training and other subsidies. Exhibiting societies Exhibiting societies range from small local art circles to well-known institutions such as the Royal Academy of Arts. Some organisations limit their exhibitions to members’ work, while others allow non members to put up work for selection. Membership can be restricted to artists living and working in particular areas, e.g., the Royal Scottish Academy; or it can be based upon artistic specialization. Membership benefits can include exhibition opportunities; informative publications; discounts on materials; legal advice; pages on the organisation’s website and a link to member-artists’ own sites; recommendations and artistic commissions. Membership of arts organisations keeps artists in touch with each other and broadens their sphere of contacts. Gallery owners tend to visit these exhibitions and often select new artists from them. You should also enter any competitions wherever possible. Winning a competition, or being a finalist, is often an important step forward in an artist’s career, getting them noticed by gallery owners. Competitions are usually advertised in art magazines and tend to be organised by exhibiting societies, with prizes sponsored by suppliers of artists’ materials, large companies or commercial gallery owners.  In conclusion I am confident I have listed the most important things when trying to sell your work or to even get recognition and contacts. It seems that galleries and exhibitions is the key event to get the ball rolling. You need to let the public know about these events and this is where social media and physical fliers become important in publicizing your work.