Art industry Flashcards
Art Galleries, Staff, etc.
List types of galleries and museums (3)
- public galleries
- artist run spaces/initiatives
- commercial galleries
List art exhibition process (5)
- curatorial content
- exhibition space
- exhibitions design
- conservation of artwork
- promotion related to an exhibition.
Public galleries (roles and aims)
- owned and established by Gov on behalf of the public
- not-for-profit organisation
- artists need to be well established with excellent reputation
Public gallaries (acronym)
- Educate
- Present
- Promote
- Collect
- Conserve
Educate
- teach public about our culture/ artistic heritage
- education officers employed
- school groups, free public tours, professional development for teachers
- “behind the scenes” tours
Present
- deciding on exhibition program
- sourced from own collections and travelling exhibitions
- exhibition space and design
conditions such as temperature and humidity
Promote
- providing an interesting venue for public to view thecollection
- engaging the public
- aim to increase attendance
- print and electronic media
- memberships = general, corporate and Artbeat (20s and 30s yr olds)
Collect
- custodian of art on behalf of the public
- must develop, maintain and conserve their collection for future generations
- collection = donated, bequest or by aquisition and funding through Gov.
Conserve
- employ conservators to care for the works in it’s collection, whilst in storage and on display.
- conservators role = prevent work from damage
- technical procedures
- restore work that has been damaged
Commercial Galleries (roles and aims)
- makes money though selling and/or lending contemporary and historical artworks to collectors or the public
- no Gov. funding
- dramatic change for commercial galleries = prints at low cost/online
Commercial galleries (acronym)
- Represent
- Sell
- Promote
- Collect
Represent (and select artists)
- select their own stable of artists to represent
- responsible for marketing, promoting and exhibiting artists
- mid to late career established artists are represented by major commercial galleries
- will create unique style
- hold solo and group exhibitions for their artists
Sell
- commisions charged on sale of works
- commercial galleries will take percentage of the sale of all work
- simple sales = ppl walk in and buy
Promotion
- advertising/marketing = mailing lists of collectors, fliers, newsletters, press releases, magazines
- free advertising
- hold and organise gallery openings
- offering previews to serious buyers to avoid crowds
- commisions
- exposure of gallery and artists
Collection
- maintain stock rooms of their own artists work
- following exhibition, gallery keeps further samples of an artist’s work to show buyers
Artist Run Initiative (roles and aims)
- are flexible, topical and responsive to needs of emerging artists (young artists/art students/inexperiences artists) to exhibit
- managed by artists
- operates on non-profit basis
- continuing program of activities
- accepts proposals for exhibitions on application basis
Artist Run Initiatives (acronym)
- Help
- Experimental spaces
- Learn
- Provide
Gallery Staff
- Curator
- Exhibition designer
- Director
- Sponser
- Marketing/publicity officer
- Education officer
Curator
Gallery Staff - manages a gallery’s permanent collection and is responsible for planning, coordinating and researching current and future exhibitions.
They also give lectures, assist with education programs and write catalogues.
Exhibition Designer
Responsible for the organisation of the gallery space and the layout and presentation of artworks within the exhibition space.
Put together layouts and floor plans for exhibitions (using a 3D model), and organises the colour selection and painting of walls.
They print information (didactics or information wall) in the gallery space.
Framing, mounting and general presentation of artworks (level, distance, placement and direction).
Collaborate with a team to determine physical flow and overall aesthetics.
*155cm from floor
Director
Responsible for financial decisions, allocation of staffing and the general running of the gallery.
Sponser
Donates money and services for gallery acquisitions and other costs involved in putting together and running an exhibition.
Marketing/publicity officer
Responsible for promoting an exhibition.
Done through booklets, gallery websites, art magazines, newspapers, radio and TV, social media platforms.
Compaigns include signs and posters placed in high profile contexts.
Education officer
To expand the public’s general understanding of art.
They develop programs about current exhibitions and a gallery’s permanent collection for students (primary, secondary and
higher education) and the general public.
Conservation
- preservation
- prevention
- keeping art to original state
Preventing damage
- controlling the environments in which they are presented/displayed, stored and transported
- environmental factors: light, temp, relative humidity (RH), dust accumulation, insect activity, poor storage and display materials, incorrect handling.
Materials
Organic:
- paper
- leather
- wool
- feathers
Inorganic:
- stone
- cement
- ceramic
- metals
Effort of conservation
Depends on:
- significance of work
- value of work
- resources available to conserve the work
Public = more funding so considerable effort + looking after work on behalf of the public
follow international conservation guidelines
Handling and checking
Includes:
- using gloves (nitrile) when hanging works on paper
- creating adequate viewing space b/w works
- paying attention to light levels
- keeping storage and display areas clear of dust and toxic materials
- being aware of security issues
- curator checking regularly for movement/ damage/ dust/ any changes to the work
- condition report when a work = travelling b/w places
Light (conservation)
- damage done by light is irreversible and cumulative
- causes colours to fade, paper to discolour and become embrittled
- textiles and paper = 50lux
MINIMISATION:
- eliminating direct sunlight/UV light (no windows)
- rotating objects on display b/w display and storage
- using tungsten bulbs
Temperature and Relative Humidity (RH)
- directly related to eachother
- using thermohygrometer
- 20C +- 2C (22-18*C)
- 50% RH +- 5% (55-45%RH)
- causes expansion or contraction of particular materials –> cracking, tears, cleavage, flaking, embrittlement
- mould, bacteria, fungi growth
- breakdown of materials
Moulds (conservation)
- fungi that live on almost any material tat can offer moisture and organic nutrients (eg: coil-based paints, wood, paper, textiles, leather, etc)
- occur naturally and grow in conditions where RH is above 70%, darkness and poor ventilation
- prevention = control environmental conditions in display and storage areas so that RH remains below 70% and to keep display and storage areas clean and well ventilated.
- breakdown of the physical structures of a work of art (paper = soft and spongey and liable to disintegrate)
- can cause surface straining which is irreversible
Atmospheric pollutants and dust (conservation)
- major cause of deterioration
- CO2, Nitrous oxides
ozone, particulate matter (dust and soot), cigarette smoke - causes corrosion (eg: metals)
- acid damage (eg stone)
- straining and soiling (eg: paper)
- chemical reaction (eg: tarnishing of silvers/ blackening of lead-based pigments)
- physical breakdown (eg: textiles)
- display cases for objects, frames and glazing provides protection from airborne dust and other atmospheric pollutants.
Insects (conservation)
- feed on objects made of organic materials (textiles, wool, cotton, linen, silk, paper, photographs, wood, leather)
- droppings = unsightly and can stain/ eat into suraface b/c acidic
- placed into special plastic bag, oxygen removed and replaced with nitrogen, temp at below freezing -20oC, period of 2 weeks.
Pests (conservation)
- mice, rats, other rodents, silver fish
- capable of gnawing or soiling any work of art
- attracted to dark, cluttered, undisturbed areas
- cleanliness and traps used to prevent
Storage areas (conservation)
- RH, temperature and air purity controlled, kept in the dark
- not stored on the floor in case of disaster (eg flooding),
ease of access and regularly monitored - 1:3 viewing time to storage time
- materials used for storage may come into contact with works of art and must not contribute to their deterioration.
Transportation (conservation)
- some are never loaned to other intitutions for exhibition b/c so fragile
- appropriate packing system is designed
- condition reports
Visual Language Formula
Style + Influence + Aesthetic Qualities = Communication of Ideas (Interpretting Subject Matter)
Style + Inf + AQ = CI (ISM)
