Project 2: Artist Platforms, Promotion and Documentation

Instructions: Research Task: Personal Reference Points for Exhibition Strategies

Consider bodies of work that your project aspires towards and look specifically at how these have been shown and presented. Make notesabout strategies you wish to borrow or use in relation to your identified reference points.

Select images of 2-3 example projects and upload these to your learning log with contextual information and your reflections.

Self Reflection: Your Own Exhibition Strategies

What are you trying to achieve with your showing strategies? Is there a narrative of some sort? Do you need to be in control of it? Using images, notes or other reference points from your own artist research, choose 2-3 relevant strategies that you can summarise on your learning log, use these to refer back to and share with your peer group.

I left this task for my post-exhibition self-reflection, so you can find my self-reflection in that post, as I was unsure about the “showing strategies” to pursue at the event planning stage. I did my research, but I needed my own practical experience to put something meaningful in writing for this task.

Exercise 5: Adapting Your Work

Does the making or resolving of your work itself need to adapt in response to its intended space? Devote a day with your own work, making, recording and editing. Capture this via a learning log post, to refer back to and share with your peer group and tutor.

This task is also left for the exhibition days and is answered in the Exhibition Day 2 post.

Research Task: Platforms (For Artistic Dissemination)

Use the following notes on book making, websites, online exhibiting, socially engaged practices, performance and live art, collaborative models and social media as springboards for individual research and investigation around aspects of your work and audience engagement. 

https://artelaguna.world/reserved/main.php?id_pag=24

Book Design, Making And Experimental ‘Books’

I returned to this task after my exhibition, as I gained a better understanding of creating my artist book following the sale of my first prints. Before that experience, I couldn’t grasp the idea of why I needed the book in general, especially since I wasn’t a well-known artist yet. Now, I see that the book can serve as a marketing and sales catalogue, allowing the public to order prints of some works. However, I think it is infrequent when rising artists bear the book printing costs; I have never seen them in paper-printed format, even though I have been visiting art galleries extensively in the US and Europe for the past two years. There was no gallery offering artist books for visitors to buy or browse through.
In most cases, they offer a one-page short bio of the artist with a QR code linking to their website. Most artists create their own websites and virtual portfolios, as well as social media pages (such as Facebook and Instagram), which they use to promote their work and facilitate print sales. I say even more than that, serious, large-calibre established artists don’t have a “print purchase” option/button on their websites. I decided to skip this task, including the research on Leeds Book Fair, and leave it for the Part Five submission, where I will write about planning my future career steps. The artist book is definitely one of the practical steps I can take.