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Books and articles about planning a show
In the UK Artist's Newsletter publish some excellent books and articles aimed at artist across all mediums and there are/have been specific books etc aimed at Photographers addressing exactly the issues Scott's outlining. Some material is available online.
Ian
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Ian,
Do you have any links? I bought a copy of this book (http://tinyurl.com/y5ngnwb) which unfortunately is almost useless as it is really a combination of the self evident alongside an approach* or world view on photography that seems completely centered around the author's niche without her apparently realizing it.
Tom
* meaning rather dim students who are within a very specific educational context of non craft centered photography within an institution.
Last edited by Tom Kershaw; 04-13-2010 at 12:23 PM.
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I've split this discussion from Scott's workshop announcement, so that it can function as a separate thread without interfering with planning for the workshop.
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Just so the references to "Scott" make sense in the future, here is a link to his original thread:
http://www.apug.org/forums/forum162/...tml#post978450
(I was getting confused  ).
Matt
“Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”
Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2
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 Originally Posted by MattKing
I'm rather confused as well as I wanted to let Scott know what info was available in the UK, one problem is that information is spread across publications and articles and in fact his Workshop is an ideal way to pass on the relevant information.
Originally Posted by Tom Kershaw
Ian,
Do you have any links? I bought a copy of this book ( http://tinyurl.com/y5ngnwb) which unfortunately is almost useless as it is really a combination of the self evident alongside an approach* or world view on photography that seems completely centered around the author's niche without her apparently realizing it.
Tom
Tom, I'll find the links later but I'll also see what books I have in storage here in the UK, I know one is sat on my book shelf in Turkey. You can borrow them if there any help to you.
One gives a complete lis of UK galleries who exhibit photography and sates the exhibition policies etc. It's quite normal for decent galleries to book exhibitions up to 3 years in advance.
Ian
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Originally Posted by Ian Grant
I'm rather confused as well as I wanted to let Scott know what info was available in the UK, one problem is that information is spread across publications and articles and in fact his Workshop is an ideal way to pass on the relevant information.
Tom, I'll find the links later but I'll also see what books I have in storage here in the UK, I know one is sat on my book shelf in Turkey. You can borrow them if there any help to you.
One gives a complete lis of UK galleries who exhibit photography and sates the exhibition policies etc. It's quite normal for decent galleries to book exhibitions up to 3 years in advance.
Ian
What counts as a decent gallery?
Tom
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Originally Posted by Tom Kershaw
What counts as a decent gallery?
Tom
That depends on what you're after, its reputation, do they pay you, get people through the door, commission new work etc.
My comment was really referring to the larger more specialist galleries in the UK and particularly larger exhibitions.
Smaller galleries often don't pay and may be more flexible with shorter time scales, and then there are more democratic spaces. While in Lima, Peru I saw a superb photographic exhibition in a Park - almost everyone stopped to look at the exhibition which was work by many South American photographers. About 5 years ago I had a large exhibition in a Marquee at a canal Boat festival, that had far more visitors in 2 days than most galleries get in a month.
Ian
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Originally Posted by Ian Grant
I'm rather confused as well as I wanted to let Scott know what info was available in the UK, one problem is that information is spread across publications and articles and in fact his Workshop is an ideal way to pass on the relevant information.
Tom, I'll find the links later but I'll also see what books I have in storage here in the UK, I know one is sat on my book shelf in Turkey. You can borrow them if there any help to you.
One gives a complete lis of UK galleries who exhibit photography and sates the exhibition policies etc. It's quite normal for decent galleries to book exhibitions up to 3 years in advance.
Ian
Ian- I think something just got a bit muddled in the translation. I didn't think you were trying to undermine the class I'm teaching, but it came across as being a bit of "here's an alternative to the class that you can get for free by searching these materials online". Which struck me as odd, since you're not that kind of person. Please note that after I've had a chance to fine-tune the class, I will be posting an article here on APUG covering my salient points. I'll be writing the detailed syllabus this weekend. None of the ideas I'm presenting are brain surgery, and I'm sure the more iconoclastic out there will take issue with the conventionality of the style I'm describing. I am looking forward to putting it together in a single format though, because there really isn't anything out there. I learned it by seeing LOTS of really bad exhibits, putting up a few myself, and then figuring out what really works by observing good shows too.
While I advise sticking to certain conventions of exhibiting (keep frames at eye level, allow breathing room between frames and between the image and the frame, presentation should not distract from or detract from the artwork, etc), I'll also present a few ideas for how to break from convention if you really want to (the same rules apply for breaking conventions as adhering to them - be consistent, conscientious, and make sure what you do helps MAKE the point of your work). I'll also consider posting the class on YouTube if I can get someone to help videotape the presentation.
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