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I'm lucky to get to be a professional artist on some days and an
exhibit designer-fabricator on other days. I've also helped
coordinate a number of citywide events involving artists. So I've
been on every side of the table, top and bottom included!
I could go on and on and on, but here's a consideration or two from
the top of my brain this afternoon:
1. There might be somebody on your Board (or somebody on staff!)
who collects art. That's a valuable resource, maybe--but not
necessarily--for art loans, but primarily for who and what they
already know.
2. Establish whether you're making a Call for Submissions of
existing works, which is great for photographers and performancers
and many painters, or a Request for Proposals, which is great for
project-based, situation-specific work, and a great way to access the
installation artists, interactive sculptors, and some poets. Or
maybe you're doing both Calls and Requests! Many artists respond to
both!
3. If you're Calling for Submissions, you'll wear curator's shoes.
You'll look over a plethora of slideshows, and hopefully committ some
afternoons to making studio visits (always rewarding time spent).
It's important that you outline for artists the ways in which your
exhibition will differ from a typical gallery exhibition. And ways
may be many!
Determine if you're paying exhibition fees, or purchasing prints,
or if the exhibition is offering awards, or some other path for the
mooney. If there's isn't much chance for sales, a lot of 2-D artists
appreciate exhibition fees.
4. If you're Requesting for Proposals, the process is more like a
public art selection, or in some cases a residency program. You'll
be looking at ideas and qualifications, and considering feasability.
The wider the cross section of people on your selection committee,
the better, because the chosen artist(s) will have to work across
departments during the project, in addition to working closely with
an on-staff project manager. Personality conflicts can break a good
project, so interviews are probably a must.
Limitations fuel creativity! Be up front regarding the limitations
and potential compromises as much as you are about the
opportunities. I think your best candidates will be eager to
confront challenges, and creatively so.
Getting what you pay for being fact, incentives beyond a materials
budget are crucial. Many installation artists don't make a living
selling work, but by winning grants and awards. If monetary
incentives are meager, the host institution should be committed to
providing access to wise expertise, special equipment, unique
exhibition space, or in some other way be the lever that lifts
particular obstacles that would otherwise keep a dream project from
being realized.
5. We are lucky to live in a time when a lot of emerging artists
are exploring collective, multimedia art-making. You can select
teams of artists to tackle particular projects, and likely stir up
some unique activity.
Scott, I'm sure your project is going to be a blast!
--Jason
__
JasonJayStevens
JasonJayStevensStudio
[log in to unmask]
www.potterbelmar.org/jjss
536 Roosevelt Avenue
San Antonio, Texas 78210
210.818.0642
On Oct 3, 2008, at 2:22 PM, Scott Pattison wrote:
> ISEN-ASTC-L is a service of the Association of Science-Technology
> Centers
> Incorporated, a worldwide network of science museums and related
> institutions.
> **********************************************************************
> *******
>
> Hello all,
>
> What experience have people had working with artists to create
> displays
> and interactives for exhibits? What worked? What didn't?
>
> We are considering both temporary installations, that would only be on
> display at one venue, and displays or interactives that would be a
> permanent part of a traveling exhibit.
>
> Thanks for your help,
>
> Scott
>
> Scott Pattison
> Senior Exhibit Developer
> Oregon Museum of Science and Industry
> 1945 SE Water Avenue
> Portland, OR 97214
> 503.797.4673
> [log in to unmask]
> www.omsi.edu
>
> Unlock the puzzles in the Mindbender Mansion-A brain teasing new
> exhibit
> now open at OMSI
>
>
>
> **********************************************************************
> *
> For information about the Association of Science-Technology Centers
> and the Informal Science Education Network please visit www.astc.org.
>
> Check out the latest case studies and reviews on ExhibitFiles at
> www.exhibitfiles.org.
>
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For information about the Association of Science-Technology Centers and the Informal Science Education Network please visit www.astc.org.
Check out the latest case studies and reviews on ExhibitFiles at www.exhibitfiles.org.
The ISEN-ASTC-L email list is powered by LISTSERVR software from L-Soft. To learn more, visit
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