Suggested Tools for the Curator

Things in my personal tool box:

A tool belt–absolutely necessary when hanging a show!  Plus, you feel boss walking around in it.

Hammer–goes without saying.*

Nails of various sizes–I have three different sized nails for the various sized work.  I also have sets of picture hangers; the single nail set usually does fine for most hangings, but if the piece is overly large and heavy, I recommend two three-nail hangers. *

Sandpaper and fast drying drywall–of course, this depends on your wall.  Ours is a matte finish, with “sheep’s wool” benjamin moore paint.  The sandpaper and drywall are to, of course, fill in the holes left by nails.

Yellow Chalk–useful for marking where the nail will go.  Wipes off easily, and a light coat of paint will cover it’s mark better than a pencil mark.*

Masking Tape–I use this to mark the spacing between 2-d works.  Comes off easily without marring the wall.*

Tape Measure–Also, goes without saying.  I have three tape measurers in the gallery–one that lives in my tool belt, one that lives in my tool box, and one that lives on the desk for customers’ use.  Customers use tape measurers to personally measure pieces they are interested in purchasing.*

These are your enemy.

Picture Wire and Eyelet Hooks–not every artist understands how necessary it is to properly wire their canvas works.  You can hang a canvas on two evenly hung nails, but wire adds security to the piece, especially if you have busy receptions.  Nothing worse than a painting “jumping” off the wall in a crowded room.  **

–Pieces that have sawtooth hangers are NOTORIOUS for “jumping off” walls, particularly if you’re hanging another piece next to them.  If your artist absolutely cannot do without this evil device, then do all your placement & measurements for the pieces, and REMOVE the work before hammering next to it.  You don’t want to damage someone’s work or someone else’s future investment!

Level–Absolutely necessary.  Level the work after it’s hung, BEFORE setting the next piece; an unlevel painting can throw off your measurements by a couple of inches, which makes for a visually unsettling display.  Level after hanging each piece, before measuring for the next piece, and re-level after getting everything hung.*

OTHER NEEDED ITEMS: Three different ladders–the step ladder, the six footer a-frame, and the 10 footer a-frame ladder.  Additional bulbs for your light fixtures, soft cloth (I use rags made from an old sweat shirt)*, windex, paper towels, and lint rollers.  A screwdriver–I have one that is both phillips & flat head in one.  Screws of various sizes.  Electric drill (luxury item!).  Push pins, and binder clips.  A razor blade and straight edge are important as well.  We have a hand truck (luxury item!) for heavy sculptures and for easily moving pedestals.

*Denotes items suggested for tool belts.

**Tutorial on wiring canvas coming soon.

*Ms. Wakefield admits levels are often her impulse purchase of choice.  She cannot tell you how many pocket levels she owns.

Cloths-Line Hanging Method

‘Cloths-Lined’ prints (center 3) from a one-day Hatch Show Print exhibit & talk.

PART ONE:

Cloths-lining, as it may seem, refers to hanging all 2-dimensional works at the same height, regardless of their size.  I find this works best with unframed works and cloth pieces.  You must be very careful with your unframed works–even with prints, you do not want to pierce the paper with pins, as they will always be evident.  Rule of thumb with paper works: if it doesn’t belong to you, don’t pin it.

For this particular show, we used binder clips with panel nails, see detail on right.  This made the ‘cloths-line’ method quite easy.  

SUGGESTED TOOLS: Laser Level, tall a-frame ladder, tape measure, masking tape,  wood panel nails, small black binder clips.

SUGGESTED METHOD: Decide the arrangement of the works.  Measure the works, and figure how much space to allow between the pieces.  Using the A-frame ladder as a level prop, put your laser level at the desired height.  Once it is on, use the masking tape to mark the measurements & spacing along the laser.  With the laser level still on, mark & set your nails for each piece.  Use the binder clips to hang the works on the nails, adjusting as needed to make level.

Moving the laser level up or down the ladder rungs can help in hanging multiple levels of smaller works.  MEASURE the chosen display items first!  I am lucky in having a large amount of floor space for sample lay-outs.

PART TWO:

Cloth and silk pieces are also great items to ‘cloths-line’.  I’ve “cloths-lined” this row of batik silk scarves by Macon, GA artist Wini McQueen.  In order to hang these, we first measured the width of the scarf, plotted a trapezoid shape on foam core, cut the shapes with a straight edge & razor, and nailed the foam core to the wall.  We then used straight pins to attach the work to the foam core.  This did not damage the weave of the work, and made a lovely display that wafted with the movements of the crowd during the opening reception.  

SUGGESTED TOOLS: Laser level, tape measure, a-frame ladder, small panel nails, foam core trapezoid shapes, level, straight pins.  Optional for scarves: portable steamer.

You can use either a tape measure or laser level to set your height.  Set laser level as mentioned above, using ladder to help with placement.  Before hammering in the trapezoid shape*, level it, make sure it’s still in-line with the measurement or laser level line.  I did the arrangement on the scarves based on color variations and width.

The trapezoid foam core shape (far right) before attaching silk scarf.

Consider “cloths-lining” the next time you have a paper, print, or scarf show–it can make for a very interesting display, and the more interesting and interactive the display, the more sellable the work becomes!

 

Be sure to check out our Nashville buddies, Hatch Show Print.  Jim Sherraden is a delightful person, and was a joy to work with.  We hung the show in just a few hours, had a presentation and reception, then took the show down again.  I cannot stress how important the laser level was in setting this show.  Without an intern and knowledgeable co-worker, I could not have achieved hanging this show on my own.

*Ms. Wakefield carries a level with her at all times, and has been known to straighten pictures at Wendy’s.

Art Discipline

“All artists are willing to suffer for their work. But why are so few prepared to learn how to draw?”–Banksy

This truism unfortunately seems to be a prevalent tune in the art world. Conceptual artists are well and good, but can they draw? On the flip side, you hear folks say “I can’t draw” in response to the question “Do you create art?” To break down the quote, it’s not about learning how to draw: it’s about being disciplined in creating your work. How many artists fit the suffering ‘sensitive artist’ stereotype, and what can artists do to break that classification? Discipline!

“You need to draw everyday. Buy a sketchbook and take it everywhere with you.”—commentary from Avatar: The Last Airbender animator on Nickelodeon

Good advice. How many artists do you know who actually follow it? My challenge to you, and myself, is to do just that. Draw everyday; good, bad, mediocre, you don’t have to share it with anyone. Get a small sketchpad you can tuck in your pocket or purse, a good pencil, and DRAW everyday. Don’t know what to draw? Just doodle. Train your hand to be prepared to capture a bit of daily life, even if it’s just a non-representational scribble. Discipline.

“My advice to you? Read Read Read and Write Write Write.”—Margaret Atwood

Advice given by Atwood (@ the 2010 Ellmann lectures) to an aspiring 19 year old writer, I found somewhat of importance for artists as well. You’re a young artist, a student, or someone who’s been creating work for a while? Go out and see other art—museums, art galleries, open studios. Talk to other artists, discover their techniques, see what new things they’re doing. Look at art–then draw, draw, draw (or paint paint paint, or sculpt sculpt sculpt!). Allow yourself to be influenced without copying, and to react to what you see. Found that sketchpad yet?

“Set aside time every week to devote to your art. I painted every Wednesday for years just to paint. My children would paint alongside me or watch.”—Jerry Wray

If you have the discipline to pursue your art, then do exactly that—set aside time. Fix it in your schedule, and be as dedicated to it as if it were a doctor’s appointment or a work assignment. Art majors and students often decrease their out-put after graduation mainly because they have to create their own structure, their own schedule, their own ‘class assignment’. Materials once used without thought are suddenly quite expensive when starting out on your own. To cut costs, start small and build your materials, but keep it going. Set aside time on the weekend; instead of heading to the bar, head to the studio or back to the ‘drawing board’. Take the sketchbook to the bar, even! If this is your passion, be passionate about it! Your friends & loved ones will start to get it, and treat you more seriously in your pursuit. Jerry Wray was named one of Louisiana’s top 6 artists of 2010. How did she achieve that? Dedication to her passion and discipline.

Jerry is 85, and has been a disciplined artist for 67 years. If you follow her example, you could be claiming the same accolades when you’ve become a master of your art.

“My teacher said I’m already a good drawer, and I don’t have to take drawing to be an artist.”—overheard quote at an opening

It’s not about being a good drawer, or a good artist. It’s about building the foundation of knowledge to support your talent. Are you willing to learn how to draw? Are you willing to learn how to be disciplined?

*Ms. Wakefield has been so disciplined she once put herself in the corner for time-out.

E-Mail No-Nos

Received E-Mail.

Hey my name is (removed), I would love for you to consider my art in the galleries. Thank you ,

Gallery Submission Advice. When e-mailing galleries, it is best to start the paragraph with a “Hello”, as “Hey” is a bit too familiar for someone you’ve not met.  Note I said “paragraph”; flesh out your request with engaging questions.  Ask if the gallery is accepting submissions at that time, and include a question on how you can best submit work to be considered. Be sure to include images* or a link* to a web-site. Close the e-mail with your name, e-mail, and any contact information you’d like to include.

Received E-Mail.

Dear heather,

                 I am a fellow artist from chicago, who currently resides in (removed). Ive been painting and doing anything art related all my life. I took classes at the art institute of chicago and majored in art at Northern Illinois University, Harold Washigton college and Chicago State University. However since moving to (removed)  ive been searching for an orginization that deals with art. I am very interested in learning about the (removed) and if I can participate in your events. If so, please email me back. I can send photos of my work to show my skill.

Thank you and have a blessed day.

Gallery Submission Advice.  When sending an e-mail to a potential gallery, do not address the curator by a shortened version of their first name. Be consistent with your punctuation and capitalization efforts.  In this particular e-mail, if all had been lower-case & punctuation had been removed, okay, maybe that’s a part of your artistic signature–I’ll give you the benefit of the doubt.  However, spell check is always your friend, always.  Sign your name at the end of the e-mail, include a link to the web-site if you have one.  This particular artist did not sign the name, and I could not tell the order of the name based on the e-mail’s tag.  I guessed.

Received E-Mail.

Hello!!! My name is brittni and I love to make art!!!!!!!  I’d love to bring some by!

Gallery Submission Advice.  No.

Received E-Mail.

Please call me at (removed) re pottery vendors

Gallery Submission Advice.  Do not make demands of me.  I’ve not met you, I’m not interested in being ordered around, even if you use the word “Please”.  I will not respond, and I certainly will not call you.

Gallery’s Response.  Ultimately, this is a blanket response to any of these submissions.  Other galleries may not waste their time.

Mr. (removed),

 I meet new artists by appointment only, and do not have an available spot until next week.  You will have to call me to arrange a meeting. 

 If you have a web-site, or would prefer to send jpgs as an example prior to a meeting, send the link or images.  

Thank you.

–Heatherly Wakefield
(company & phone number removed)

 Gallery Submission Advice.  RESPOND TO ME.  I gave you the courtesy of my time, offered to see your work in the politest way possible, and never hear back from you again.  This certainly does not help your chances, and does nothing to help you gain experience in the art world.

*Images should not be overly large, or too small.  Go with a medium sized jpeg.  Make sure your image is clear, in focus, and in unaltered colors.

*Always check your links!  Broken links reflect badly on you, and if your site is “Under Construction”, then I am “underwhelmed”.

 

*Ms. Wakefield has been receiving e-mailed gallery submissions for several years.  She has yet to see one that makes her jump on her chair and scream in horror.

Tips on Getting Artwork Seen by Curators

Hello, future artists of our Gallery.  Just thought I’d share a few tips on how to approach an art gallery when submitting your work:

The Approach.  Curators, gallery managers, director of fine arts–whatever their titles, they do not live in wait of the next artist to come in with a portfolio to review.  We have full-time jobs, most of which involve rearranging art, mailing out purchases, checks, and postcards, as well as dealing with retail records, inventory reports, etc.  We are busy, and the best way to approach us is to make an appointment.  It will be a strike against you if you fail to show up.

Calling.  Always introduce yourself within the first two sentences.  When describing your work, do not use these adjectives: outstanding, amazing, unique, fantastic.  I do not need help figuring this out if it truly applies to your work.  If you have difficulties describing your style, keep to the basics; nothing irks me more than “Have you heard of Jackson Pollock?  It’s kinda like that but different.”  Assume someone working in the art industry is familiar with art history.

E-Mail.  Love it, a great way to reach me with your website information.  I can look at it once I have a free moment, or can view it immediately if I’ve the time.  Before I continue, I will mention I was raised by an English teacher, so grammatical errors and multiple exclamation points irritate me.  If you type like a valley girl from the ’80s, then you will not receive a reply.  Consider your submission akin to a cover letter for a job application: keep it short, to the point, and professional.  If you attach images, resize them for easy download.

Technology.   New technology is great.  However, actual work is always more preferable than viewing images on an iPhone.  If you must use your iPhone (or any other handheld gadget), then please for the sake of all modesty, remove pictures of your genetalia.  I am not interested in those, or any other personal pictures.

The Portfolio Review.  Make sure the work within your portfolio is current; student work from 1997 is no longer relevant.  Photocopies or poorly printed scans of work are also not relevant, and considered very unprofessional.  There should never be a clown in any part of your portfolio; this is my personal preference.

Education.  By all means, tell me where you went to college.  If you put your college education to good use, it will be apparent in your work.  Other than that, your alma mater does not impress me.  I have many successful, talented self-taught artists who’ve received no formal training.

The Review.  Please be courteous to me.  Your attire does not bother me — artists come in all shapes and sizes, and all styles of clothing.  I am not here to judge how you look, I just want to see your work.  If your work is on paper, and I want it in the gallery, it needs to be framed.  (FYI, Michael’s often runs great deals on their frames, other stores run sales, and even Goodwill & Salvation Army have inexpensive frames–black spray paint can work wonders on an old frame).  Canvas work needs to be strung with a wire; this is easy to do, and only costs a couple of dollars (if I have time, I can show you how to do this—just ask!).  I will review your work, and if it fits the style and price point of our gallery, I will accept it immediately.   Here’s another tip: have an idea in mind of what you’d like to charge for your work.

Please, when framing your work, (if you frame it yourself) look at the matts.  If there are numerous pieces of dog/cat/human hair, brush them off.  Clean the frame and glass if it’s dusty or smudgy.

Pricing Your Work.  This is the tough part.  We have a commission–all galleries do.  We do not charge you anything unless your work sells, so please do not haggle over the commission.  What does commission pay for?  The lights directed at your painting, the air conditioned climate control, the constant advertising, the sliding walls for storage, the credit card machine used in transactions, and the insurance that covers disasters.  If you argue the commission too much, I will wish you luck in selling the work out of your studio; galleries are not right for every artist.

The Rejection.  If I feel your work is not right for the gallery, I will direct you to other locations.  Not all galleries do this, so research galleries within your area and follow these tips when approaching each one.  Also, you can always ask a gallery why they feel your work is not right for their space — there could be an opportunity to improve your presentation, technique, or issue with multiple exclamation points.

Good luck!

Ready to e-mail a gallery?

*Ms. Wakefield has been a Director of Fine Art since 2008, and has been rejected from numerous galleries since becoming an artist in 2000. However, she has shown in museums, galleries, studios, and churches–actual churches, not Church’s, which has damn good fried chicken.