PROFESSIONAL PRACTICE: THE PARLOUR SHOW ROOMS (the Arnolfini galleries were unavailable for viewing)

  • £80 a week
  • own promotion
  • organise a preview
  • option to sell with no commission
  • generates artists’ awareness
  • audience: passers by/people interested in fine art/people invited to private view
  • lack of control over layout
  • pretty inclusive (in terms of audience) shop front and broad range of events it caters for.
PROFESSIONAL PRACTICE: BEAR PIT
passers by
food vendors
people who ‘hang out’
doesn’t exclude anyone but some may choose not to come to this part of town
graffiti - socially and politically motivated works
all works in mural form but could encompass sculpture/installation/performance
space to reflect on work
but fair amount of distraction - noise/weather/sellers/traffic
informal setting
outside but art undercover from rain (in subways)

PROFESSIONAL PRACTICE: BEAR PIT

  • passers by
  • food vendors
  • people who ‘hang out’
  • doesn’t exclude anyone but some may choose not to come to this part of town
  • graffiti - socially and politically motivated works
  • all works in mural form but could encompass sculpture/installation/performance
  • space to reflect on work
  • but fair amount of distraction - noise/weather/sellers/traffic
  • informal setting
  • outside but art undercover from rain (in subways)

Professional Practice: comparing two prospective exhibition spaces

BEARPIT

  • issues with ownership
  • issues with non-permanence
  • benefit of passers by
  • issues of less control over the environment

ARNOLFINI

  • benefit of it looking more clean and professional
  • benefit of it being a tourist attraction
  • issue of it being fine art orientated
  • benefit of more control over sound, light etc

QUESTIONS TO CONSIDER WHILST MAKING A TEAM VISIT

  • audience, who?
  • impact upon audience, benefits?
  • sounds or purely visual?
  • who it includes/excludes?
  • display/collection policies?
  • what work does the space display?
  • does the work suit the space?
  • who/what else is around - work/viewers/artists?
  • what external/environmental factors can be controlled?

Professional Practice: identifying prospective spaces for exhibition

SPIKE ISLAND GALLERY

  • art students/practitioners
  • lighting
  • can adjust layout
  • white/clinical/professional

F GALLERY

  • art students
  • lighting
  • layout
  • how items displayed/hung?
  • professional

ARNOLFINI GALLERY

  • Tourists
  • lighting
  • change layout
  • interactive space?

PRACTICE WALL & BEAR PIT

  • passers by
  • street art
  • general public don’t notice as art because of surroundings
  • graffiti enthusiasts
  • preformance/events

ART TRAIL: MY HOUSE/YOUR HOUSE

  • practicing artist
  • environmental factors
  • welcome environment
  • homely

CRACK MAG

  • students/general public as it’s free

reoccurring themes

installation - drawing/painting/print - found objects - narrative - craft - documentation

Jesse Leroy Smith - Leopard
Fine Artist
innocence / identity / power

Jesse Leroy Smith - Leopard

Fine Artist

innocence / identity / power

(Source: jesseleroysmith.co.uk)

David Hockney - Great Pyramid of Giza with Broken Head of Thebes (1963) o.o.c.
First seen at Tate Britain 2012
surreal / symbolic / colourist

David Hockney - Great Pyramid of Giza with Broken Head of Thebes (1963) o.o.c.

First seen at Tate Britain 2012

surreal / symbolic / colourist

(Source: thesundaytimes.co.uk)

Jeremy Deller (photographer) and Alan Kane (photographer)
Protest House - 2001 (made) - Cardiff, Wales [c-type print]
First seen at V&A 2012
political / modern folk art / political / documentation

Jeremy Deller (photographer) and Alan Kane (photographer)

Protest House - 2001 (made) - Cardiff, Wales [c-type print]

First seen at V&A 2012

political / modern folk art / political / documentation