Assignment four – Publication draft

Publication draft

(Presentation and outcomes, knowledge, creativity and professional context)

Assignment four is a collection of final draft documents which show the plan for my publication and the latest promotional materials for the exhibition. Also included in this assignment is my artists statement, my biography, how I will collate feedback and my press release which will be forwarded to everyone on my public relations network list.

The promotional work for my publication will be continuing and expanding as I get nearer to the date of my show. A lot of this will be done online and includes social media, my websites, blog, my online network and a Kickstarter campaign. All evidence of my promotional activity is recorded on my blog under the category of part four.

https://kwphotography3sustainingyourpractice.wordpress.com/category/part-four/

My publication will take the form of an exhibition being held in my local library. The library has kindly allowed me to show a selection of my prints on one of their display boards and above some of the book shelves. Although the library has plenty of wall space potentially for hanging prints the manager was reluctant to let me hang any for fear of damaging the walls. She will however let me place several (3-4) large mounted prints on book shelves in a prominent places around the library.

Below are some recce pictures showing the areas that I am allowed to place my prints. Some of the rules seem a bit strict but one great advantage of having my work in this public venue is the huge amount of people that come and go on a daily basis (possibly hundreds a day). This can only benefit me by having a larger potential  audience and increased feedback for me to work with after the exhibition.

I have worked out (using the sheets of A4 paper) that I can hang twelve A2 (20″ x 16″) prints in a grid formation on the display board. This will allow space for captions under each print. The table will be moved so that all the prints will be clearly visible. Putting captions next to the larger (24″ x 20″) mounted prints on the book shelves might be tricky. A solution to this will be to print a handout with all the images and titles. This handout will be available on one of the tables in the library. I am also considering the idea of having a small easel on the table and showing a print next to my flyers and handouts.

I am currently in talks with another local library in Letchworth about showing my prints there in the near future. I am also pursuing St Albans Museum and Gallery about a potential exhibition there in 2022. The curator Sarah has said that she would be interested to have a meeting with me to discuss this further and give me the forms to fill out.

kieren-welch-artists-statement

Artist’s biography 

Press Release NEW

 Collating feedback 

My flyer/poster below will be printed and put up in various locations including restaurants, library’s, shops, and handed to people that I meet that show an interest in my work. This copy has the date missing but it was included in my draft that was sent to the printers.

Tutor feedback:

Kieren Welch – 499753 – Photography 3 SYP – Assignment 4

Response to tutor feedback (Tutor comments in bold):

Assignment 4 – Publication Draft

I think it’s important to clear with the library the images that you’re going to show, with any text, well before the hanging is done so that no unexpected issues arise in respect of the content.

I have discussed with the library manager what my work is about. I explained that most of my landscape photographs depict places where historic battles have taken place. I have emailed her several images showing her what they look like. As my body of work progressed I found myself switching from murder sites (which can be controversial) to battlefields. Both are a similar subject but I believe battlefields to be less personal. The majority of the prints in the exhibition will be the newer battlefields images with a few of my older murder site images. I have changed the titles of the murder sites images after reading the feedback for my body of work. The assessors felt that the titles for my murder sites photographs might be too graphic and detailed. Also the inclusion of the victims name could cause issues. The new titles for these older images are now much less detailed and do not include the victims name. I will be printing a handout for my exhibtion which will show all the images with their full titles as I won’t be displaying the titles on or near the prints. I will give a copy of this to the library manager before the exhibition to make sure she does not find anything offensive or controversial. I don’t feel like there will be any problems, though it’s always best to check beforehand. When I visited the library recently to make some recce photographs the main display showed details of violent crimes and murders, so I can’t see them having an issue with my work.

As my body of work has developed I have been making less controversial work based on historical battlefields. Many of the historical sites I have been photographing date back several hundred years or more. Also because a large number of people were killed the titles become less personal as no names of victims are mentioned. I have found that this new work has been enjoyable to make as it is less personal and not so unsettling a subject.

Also, as you say you’re still in the process of developing further opportunities and this is definitely something to document in detail even if they don’t come to fruition within the timescale of the course.

I am currently in talks with at two venues (St Albans Museum and Baldock Arts Centre) about future larger exhibitions and an artists talk after the degree course has finished. I will be discussing the details of any future exhibitions or artists talks on my blog when more details as are available. I have had talks with a gallery space in Peckham, London. I am keen to put on a small exhibition there possibly later next year in 2020.

I’m not sure if you’ve already done this but it’s very useful to take a couple of prints that you intend to show and see how they look presented within the space. Sometimes there can be surprises seeing them in the space rather than imagining them. Also it can be helpful to create a virtual hang in some way to visualise how a series of prints might look by stripping them in to venue photographs.

In the next week I will be finalising the exact measurements for my mounted exhibition prints and will make at least two samples to take along to the library to see how they look. As my main display will take the form of a grid, creating a virtual hang to visualise the presentation should be relatively easy. This can be done a little bit nearer the time of my publication.

Artists Statement – Thinking about this as a physical introduction to your work as part of the exhibition and the audience the location will generate, I think it could be a little more concentrated, something like this…

I have considered Clive’s recommendation for a slightly more condensed version of my artists statement. Below is my revised artists statement that will be used in my press release, any promotional material and handouts for my exhibition.

New Artists Statement

Artist’s biography – I found the tone of it appropriate for the purpose and it gave me a good sense of who you are but perhaps again it could be a little more concentrated.

I have taken the advice of Clive and ‘concentrated’ my artists biography to make it a bit more readable. The link to my new biography is below.

Artist’s biography

The press release – It has all the relevant information; however, given the locality of the potential interest, I would major on the local and historical appeal in initially to be more of a hook for the local press so perhaps a rejig of focus, while keeping all the elements.
I understand that if you can write the story for the journalist then there’s a much better chance of your press release being publicised. So, imagine a story in your local press about your exhibition, how would that be written up? If one of the locations was local then they would lead with that to create interest for the general reader, so think about that.
When I was out walking today I saw a poster about a re-enactment of a local Civil War battle and it occurred to me that while it’s quite populist past time they might be some useful tie-up with a local society. I know where I come from in the Cotswolds the Sealed Knot are very active. http://www.thesealedknot.org.uk/events/year/2019/midlands/battle-of-edgehill

I have taken into consideration his advice and made the press release more readable and hopefully created a story that the local press might find interesting. The link to my updated press release for the new venue is below.

 

New work – Battle of Wheathampstead

The Battle of Wheathampstead 

Evaluation and reflection –

‘by portraying happenstance marks or subtle features that allude to a violent past or evoke collective memory within the sublime and pastoral character of landscape.
The natural world is both one of beauty and of violence or cruelty, both always there and existing in each other’s shadows’ (Bart Michiels, Brussels). This quote taken from the website of Bart Michiels is an eloquent description of his photographs made for The Course of History project. This quote could also describe some of the images made for my Conflict, Memory and Landscape project. My photograph below shows what remains of an ancient Celtic fortification that was involved in a desisive battle with the Romans more than two thousand years ago. When I arrived at this historical site I contemplated the interaction between these ancient marks and the beautiful surroundings that over the course of two thousand years had changed significantly. It seems quite incredible that any evidence of the bloody battle that occurred here still exist at all!

Although the light was good a thunder storm was brewing. It was quite dark in the late afternoon so I needed the sun shining through the branches of the trees to highlight and emphasis the shape of the trees and the background. I feel that their is an impeding moodiness in the image because of the changing light although this is quite subtle. The trees work as an effective metaphor for the fallen men that fought and died here. One of my favourite things about ‘late photography’ is how the images can be read in various ways by the audience. The artist can introduce motifs and tropes to the images but ultimately the viewer will decipher the picture front of them in their own way. The title plays a huge part in the interpretation of this type of photography. It gives the image meaning and allows the viewer to visualise the bloody battles that happened there. The title that I included is factual and based on my research. The interaction between text and image are vital to communicate in the best way possible my interpretation of this place effected by violence. I hope that by emphasising the beauty found in this location I will grab the attention of the audience. Once I have their attention a deeper interaction with the subject will then take place.

An unknown number of tribesmen were killed during the Battle of Wheathampstead in 54 BC. It’s thought British losses would have been significant as it led to the surrender of the Celtic tribes in Britain to Julius Caesar (Gallic Wars).

 

New work – The Siege of Hertford

The Siege of Hertford

Evaluation and reflection –

Hertford Castle is an intriguing place. The original castle walls still exist almost intact. Within the outer walls a much newer ‘castle’ building exists. Because it is in the centre of Hertford it is completely surrounded by new and old houses and flats. This made it very difficult to visualise the site from a distance. I had to photograph from quite close which limited my options slightly. I recalled some of Simon Norfolk’s more abstract images from his Bleed project made after the Balkans War. I think his approach influenced the way I looked at Hertford Castle. Another possible influence for me was Richard Billingham’s Landscapes 2001-2003. In his book several of his photographs are dominated by almost abstact viewpoints of vegetation and foliage. Canopy, 2001 and Hunza Valley, 2001 are exellent examples of this.

Although I made an image that I liked it was not very clear that the subject was actually a castle. I wanted to make another more descriptive photograph that shows the audience what they are actually looking at. This led to the second more obvious image. The light that day was a bit flat but it was perfect to accentuate the details in the gardens that lined the inside walls. I liked how the walls were becoming engulfed with foliage which cleverly evokes the passing of time. It is a distinct reminder of the power of nature and whatever man does to the landscape one day it will revert back to its ‘natural’ state.

An unknown number of soldiers and civilians were killed during the The Siege of Hertford Castle between the 12th November – 6th December 1216 (First Barons War).

Study visit – Urban Impulses: Latin American Photography From 1959 To 2016 – The Photographers Gallery

  Urban Impulses: Latin American Photography From 1959 To 2016

Synopsis:

This exhibition of more than two hundred photographs by more than seventy photographers and artists in Latin America since 1959 is split into two chapters ‘Shouts’ and ‘Pop-ular’. It features works by well known photographers Alberto Korda, Graciela Iturbide, Sergio Larrain and many unknown photographers and artists.

Shouts’ is a collection of gritty journalistic style black and white photographs with a strong political bias. Violence and repression being the main theme. Many significant historical events that occurred in Latin America feature in the exhibition including the Cuban revolution, and troubles that occurred due to dictatorships in Argentina, Brazil, Chile, and Paraguay. Kidnappings and forced disappearances that happened in some of these countries is explored in some of the work.

‘Pop-ular’ is a visual commentary on the rapid urbanisation of Latin America with much of the work echoing the pop-art movement of the United States. Tropes of the mass media and advertising feature heavily. The rise of consumer society in Latin America is explored and pictured in various ways and includes appropriated imagery.

Reflection:

After seeing the experiential presentation approaches of the TGP New Talent 19 on the fifth floor this show had a much more modernist/traditional feel about it. Most of the works were presented in a similar way. The majority of the prints were black and white and had white borders in black or white frames. Apart from a few colour prints and variation in sizes it all looked a bit similar. The imagery itself was interesting though, especially the ‘Pop-ular’ chapter. I have always been a fan of pop-art and much of the work was quirky and unusual. I particularly liked the quirkiness of Sebastián Mejia’s (b. 1982) ‘Quasi Oasis 17’ and the weirdness of Juan Enrique Bedoya’s (b. 1966) ‘Portraits series’. Mejía was clearly inspired by the New Topographics and possibly Ed Rushcha. Bedoya’s portraits brought to mind Diane Arbus and her quest for strangeness. Helen Zout (b. 1957) is another photographer in the exhibition whose work echoed Arbus. Her photograph ‘Hairdressers, La Plata, 1985’ not only resembles Arbus but also documents workers in Argentina during a time of unrest in the country.

I found this exhibition to be a bit of a mixed bag. I liked some bits but I found the overtly political emphasis of a lot of the work became a bit too much at times. I enjoyed the photographs as much for their historical angle as I did for their artistic representations. It was great to see work by a diverse group of Latin American photographers and artists many of them relatively unknown. Together with the TGP New Talent 19 exhibition upstairs these two shows proved for a highly enjoyable and stimulating afternoon.

How will this exhibition affect my practice:

The photography in this exhibition is quite different from mine in terms of concept and capture. The images are more about movement and captured fleeting moments. My work on the other hand is about revisiting places where a violent event happened in the past. My pictures are still and brooding. They invite thoughtful contemplation of a past event. This difference in concept leads to differing approaches when showing the work. My prints will better communicate my work made using the genre of ‘late photographg’ by being bigger and with more concise titles shown in a more prominent way.

I don’t feel like this exhibition gave me many ideas for my own show although it has made me think more about mixing colour and black and white prints in my display. I am not keen on having white borders on my prints and instead I am strongly considering making large prints without frames mounted on board of some description. This will allow me to maximise the size of my images and let the audience glean more details and visual information from them. I was impressed by the free handout that came with the Urban Impulses exhibition. This has sparked some ideas of my own. I am certain that I will make a handout of some description. It will include the prints in my show, their titles and other information. I feel that as an artist the handouts made available at the Photographers Gallery add to a better understanding of the work and increased enjoyment of the show itself.

https://www.galleriesnow.net/shows/urban-impulses-latin-american-photography-1956-2016/

Press Release and Image Sheet l Urban Impulses Latin American Photography 1959 to 2016 l 14 Jun – 6 Oct 2019

 

Study visit – TPG New Talent 19 – The Photographers Gallery

TGP New Talent 19

Synopsis:

This fascinating exhibition at the Photographers Gallery is a showcase for eight artists selected by Jim Goldberg for the inaugural TPG New Talent (TNT) mentoring programme. The chosen artists exhibit a varied approach to both the medium of photography and to the presentation of the work itself. The work ranges from documentary, collage, 3 dimensional pieces and found imagery. The names of the artists in the show are Rhiannon Adam (b.1985, Ireland), Chiara Avagliano (b.1988, Italy), Alberto Feijóo (b. 1985, Spain), Adama Jalloh (b. 1993, UK), Seungwon Jung (b. 1992, South Korea), Alice Myers (b. 1986, UK), Giovanna Petrocchi (b. 1988, Italy) and Miguel Proença (b. 1984, Portugal). After the exhibition these lucky few will receive twelve months of individual mentoring working with The Photographers Gallery curators.

Reflection:

Before visiting the TGP New Talent 19 exhibtion I did I bit of research on the featured photographers but have to admit I wasn’t quite sure what to expect. I was very pleasantly surprised when I entered the fifth floor of The Photographers Gallery. I was immediately impressed by the display of Riannon Adam and her work made in the Pitcain islands. Also the unusual backdrop for Alberto Feijóo’s work was very stimulating. A big reason for visiting this exhibition was to inspire me to try new display techniques for my own exhibition and these young talents did not disappoint with their experimental approach.

Most of the artists in the show experimented with interesting and innovative display techniques. Rhiannon Adam’s display was notable for its use of archive material (newspaper clippings), found imagery and pictures made using expired Polaroid film (which I loved). Chiara Avagliano and Alberto Feijóo combined 2 dimensional imagery with 3 dimensional  pieces of work. Alice Myers used only digital displays (three flat screen televisions) which I thought was a bit risky as there was nothing to immediately capture your attention. Saying that I do like the idea of using digital screens in some way alongside traditional prints. Miguel Proença and Adama Jalloh stuck to the more traditional display of framed photographs arranged in linear or as a grid allowing the pictures to do the talking. Seeing the high quality black and white prints by Jalloh was nice but a bit old fashioned some how. Korean artist Seungwon Jung utilised textiles which although very eye catching, seemed a bit out of stepwith the other works on display.

 

This slideshow requires JavaScript.

 

How will this exhibition influence my own practice:

One thing that struck me was that many artists were unafraid of mixing colour prints with black and white prints. I remember many years ago someone saying you should never mix colour and black and white prints. This has always stuck with me and I find it hard to not break the ‘rules’. I feel like I would like to mix it up a bit and start making some new work in black and white as well. In this digital age it’s simple to convert colour images to black and white but I would like to also make some ‘pure’ black and white images possible using instant film or with black and white negative film printed in a darkroom.

Another thing that I noticed was that no one printed really big prints, is this a new trend in the photography art world? I found this refreshing as the slightly smaller prints allowed the artists to include other pieces already mentioned and the placement of the prints could be more unpredictable. This has taken the pressure off me slightly to make my prints as big as possible.

This show has given me a lot to think about. Should I include archive material and found imagery? Frames or no frames? Size of prints? Could I include found objects? Should the background be light, dark or even textured I some way? What about a digital screen? Some of the decisions depend on the venue I am using for my display. This was an extremely inspiring exhibition visit for me. I am feeling more excited and less nervous about the prospect of showing my work in public thanks to these talented artists.

 

https://thephotographersgallery.org.uk/whats-on/exhibition/tpg-new-talent

Research – New work – English battlefields

The Battle of Wheathampstead (Gallic Wars, 55 – 54 BC)

Location: Dyke Lane, Wheathampstead, Hertfordshire, England, AL4 8PF. Dyke Lane, just off Marford Road on the east side of Wheathampstead.

Date: 54 BC

Casulties: Unknown although it’s thought British losses would have been significant as it led to the surrender of the Celtic tribes in Britain to Julius Caesar.

http://www.wheathampsteadheritage.org.uk/history-society-sources.asp

Click to access Battle%20of%20Wstead%20by%20Anthony.pdf

http://www.wheathampsteadheritage.org.uk/wheathampstead-trail-2.asp

Wheathampstead Palace

 

Battle of Tempsford (Viking Invasions of England, 917 AD)

Location: Tempsford village, Bedfordshire. A Danish burh or fortification once stood close to the river Ouse. Leave at the Tempsford junction on the A1 and stop halfway down Church Street; cross the playing fields to a dry island. It is accessed by a low bridge over what would have been water and marsh.

Date: 917 AD

Casualties: Many were slaughtered including King Guthrum II (King of the Danes). Also noble earls Jarls Toglos and Manna were killed, their followers were taken prisoner.

https://vikinghistorytales.blogspot.com/2013/11/917-aethelflaed-won.html

http://bedsarchives.bedford.gov.uk/CommunityArchives/Bedford/BedfordAndTheVikings.aspx

https://www.modquokka.com/single-post/2018/06/11/Vikings-in-Tempsford-and-Sandy

 

Attack on Corpus Christi College in Cambridge  (The Peasants Revolt, 1381)

Location: Corpus Christi College, Cambridge.

Date: 15th June 1381.

Casualties: The college itself was burned and many royal officials were killed.

 

https://d.lib.rochester.edu/teams/text/dean-medieval-english-political-writings-literature-of-richard-iis-reign-and-the-peasants-revolt-introduction

https://en.m.wikipedia.org/wiki/John_Wrawe

 

The Battle of North Walsham (The Peasants Revolt, 1381)

Other battles at Cambridge? Tower of London?

Location: North Walsham Heath, south of the town. Monument to the Peasants Revolt, 1381, Norwich Road, North Walsham. This 14th century “perch” cross standing by Monument Cottage on Norwich Road, is on what was heathland to the south of North Walsham, near the site. The leader of the rebels Geoffrey Litster was found in a corn field nearby and drawn, hung and quartered after the battle.

Date: 25th June 1381.

Casualties: Less of a battle and more a massacre. Hundreds of rebels were slaughtered where they hid and as they retreated to the town. Many barricaded themselves in the church and were killed there.

https://wikimili.com/en/Battle_of_North_Walsham

https://www.invisibleworks.co.uk/the-peasants-revolt-1381/

https://www.northwalshamarchive.co.uk/photo/the-monument-north-walsham-marking-the-site-of-the-peasant-s-rebellion-1381

https://www.edp24.co.uk/news/alan-partridge-s-bbc-battle-of-north-walsham-1-5921408

https://www.northwalshamguide.co.uk/north-walsham-history-general_142.aspx

Click to access bfm%3A978-1-349-16990-0%2F1.pdf

 

The Siege of Hertford Castle (First Barons War, 1215 – 1217)

Location: Hertford Castle

Date: 12th November to 6th December 1216

Casualties: Unknown number killed and injured.

 

https://www.hertfordshirelife.co.uk/out-about/the-siege-of-hertford-castle-1-4657825

 

The Bombing of London (World War 1, 1914 – 1918)

Zeppelin raids

Date: 7th July 1917 and 8th September 1915

Location: St Bartholomew’s Hospital, London.

First air-raid  by German aeroplanes

Date: 4th September 1917

Location: Embankment, London. Sphinx and Cleopatra’s needle.

Casualties: 667 people killed and 1,936 injured.

https://encyclopedia.1914-1918-online.net/article/london_bombing_of

 

The Battle of Britain (World War 2, 1939 – 1945)

Locations: St Paul Cathedral, V & A Museum, junction at Mansell Street and Chambers Street, St Clement Dane’s in the Strand.

Date: July 1940 to June 1941.

Casualties: 18,413 killed on both sides.

https://www.britannica.com/event/the-Blitz

 

The Siege of Colchester (English Civil War, 1642 – 1651)

Location: St Marys Church, St Botolph’s Priory, St Martin’s Church, Siege House all in Colchester.

Date: Summer of 1648

Casualties: About 2000 were killed of injured during the siege. Unknown amount of civilians died.

http://www.historyhouse.co.uk/articles/siege.html

Part four – Resolving and promoting your publication – Collating feedback

Collating feedback (Presentation and outcomes)

My exhibition at the local library will be on display for about a week. I hope in that time I can gather some positive and intelligent feedback. By getting feedback I will be able assess how successful my publication has been and how effective it has been at communicating my themes and ideas. The feedback can be used to refine my project and make decisions on future publications or exhibitions. Recording audience footfall at my exhibition and receiving feedback may help in the future to gain further funding or to get my foot in the door of other galleries.

I plan to have a visitor’s book, which is a traditional and valid way of collating feedback. This book will be a useful record of visitors contact details and email addresses. I will be creating a Facebook event and I will encourage people to leave comments there. Comments can also be left on my Facebook wall and possibly my Twitter feed. If possible I will also get people to comment on my blog. I need to ensure that my website address http://www.kierenwelch.net and Facebook page is shown clearly on my marketing materials and on display somewhere at the exhibition itself. I am considering offering a free print or postcard to people who contribute a comment and valid address.

I plan to be at the exhibition on the Saturday and will make appearances most days when possible. This will give me a chance to talk directly to my audience and get feedback verbally through them. Viewing the audience viewing my work can also give me a feel for people’s reactions to the work.

 

Part four – Resolving and promoting your publication – My artists statement

Writing an artists statement

At the start of this course I made my first attempt at writing an artists statement. At the time it seemed okay but now I need to really develop it and make it more consise and aimed directly at my current project. It needs to contextualise my current practice and be written in a way that is suitable for the general public. It should be remembered that not everyone reading it has an arts background. This new artists statement will be a useful introduction to my publication and could be used on my website at the start of the gallery. It can also be printed and placed next to my prints or a smaller copy could be printed and given to visitors at the exhibition  itself.

Some very useful advice can be found on the J M Colberg website (link below).

http://jmcolberg.com/weblog/extended/archives/on_statements/

I found the advice on the website very useful and have now written an enhanced artists statement, that is tailor made for my current publication.

Kieren Welch – Arists Statement

Part four – Resolving and promoting your publication – Agents and other marketing opportunities

Agents and other marketing opportunities (Professional context)

For this exercise I will consider what other marketing opportunities are available to me and even  look into the possibility of getting an agent to find me work.

I have to admit I have never even considered the possibility of having an agent. I will start doing some preliminary research online and then contact any that I think could help get me work. Luckily I live quite near London where a lot of agents appear to be based. I will make a list of agents websites below that may be relevant to me.

https://www.the-aop.org/find/agents

https://www.morganlockyer.com

http://www.traylerandtrayler.com

https://www.panos.co.uk

https://www.magnumphotos.com

https://www.adrenalinmanagement.com

https://www.jsragency.com/photography

https://www.lucidrep.com

 

Alamy – https://www.alamy.com/portfolio/kierenwelch

Marketing my work online using stock libraries is something that has interested me for some time. Below are two links provided in the course notes which help to clarify the requirements of stock libraries. Alamy seems to be the preferred option by the OCA. In the past 100% royalties would be paid to OCA students, I am not sure if this is the case anymore as the second link no longer works?

http://www.weareoca.com/photography/rethinking-the-stock-market/

http://www.weareoca.com/photography/alamy-100-royalties/

Alamy is a reputable stock library website. Alamy have strict guidelines regarding the uploading of images and keywording for each picture is a neccasisty. To be accepted by Alamy you have to submit a selection of images so that they can ascertain whether your work is of a high enough standard. I am happy to say that I have been accepted by Alamy and can upload work to the website to be viewed and even purchased! I have uploaded more than a thousand images already, most of them being stuff I found on my hard drive from old projects and jobs. I will be uploading a selection of images from my current project’s as well.

 

Saatchi Art – https://www.saatchiart.com/kierenwelch

Saatchi Art works a bit like a stock library but you are expected to sell unique artworks or limited edition prints. Anyone can create an account and then upload and market their work on Saatchi Art. This does lead to a huge amount of work being on offer, not all of it good. However it is a good platform for new or emerging artists to try their luck.  I like the fact that all types of art can be viewed and even purchased here. You can also follow other artists that interest you. This adds a social element to the website that allows you to network with other artists from similar fields.

Artworks on the website are displayed clearly and searching for a particular genre is easy. Uploading work is a bit time consuming as you have to include a lot of information with every piece you upload. It appears that some artists have good sales here which is encouraging. Because it is very time consuming I will only upload my very best work at first and see what response I get.

 

Part four – Resolving and promoting your publication – Traditional media and press release

Traditional media and press release (Professional context)

In this digital age of the Internet it can be easy to forget the more traditional methods of promotion. Local newspapers and magazines, regional radio and television shouldn’t be ruled out.

The press release is one of the traditional methods of advertising the key points of a publication or exhibition. In it should be information about what the publication is about, who is the author, when and where the work can be seen and where will the artist be available for interviews or comments. The press release once completed will need to be sent to everyone on my media contact list (preferably posted and emailed). Some great advice about writing a press release can be found on the website links below.

https://www.artscouncil.org.uk/why-culture-matters/making-case/media

http://templatelab.com/press-release-format-template/

https://acartcommissions.wordpress.com/press-releases/

http://www.islipartmuseum.org/exhibits.html

https://claranartey.com/art-show-press-release/

 

I need to develop a list of local press contacts and keep it updated. Below is my most up to date list.

public relations network

 

I will write a short press release for my publication and this will be sent out to everyone on the list shortly before the exhibition starts.

Press Release NEWEST