PROFESSIONAL PRACTICE & ENTERPRISE in the Arts Presented by Mark Parkin PROFESSIONAL PRACTICE & ENTERPRISE in the Arts

Module Aims Aims to address all the related elements that underpin Fine Arts practice & enterprise such as conceptualisation & organisation, to examine curatorship and its institutional models inclusive of the artist as curator, to making arts practice accessible to your audience.

Module Objectives To research and examine the fundamental components that underpin professional practice & enterprise in contemporary fine art today. To determine some key findings between Contemporary Art & Business.

Exhibition conceptualisation & organisation

Exhibition Conceptualisation & Organisation Vision: Statement of intent/Art Practice Proposal Key Factors; -Who are you and what are you doing? -How and where? -Why are you doing it; the purpose behind your art practice? -Phenomenology-processes & materials? -Type of Research supporting your practice(primary & secondary)?

Conceptualisatation The main objectives of the project-achievement; Who will benefit ? (Community, Education, Arts & Health etc.) Final outcomes of the project and how will it aid in your professional development?

Organisation Fundamentals: Research into the gallery or public space Examine the location & audience-benefits/disadvantages Approach the gallery followed by a written proposal Establish the dates-single or touring exhibition Establish an exhibition contract Timetable & time management-diary

Organisation Fundamentals Funding the exhibition-what are the costs? Marketing strategy-Promotion-SWOT analysis Transport schedule-manpower-technical staff Ethics-legislative, copyright etc. Health & Safety Risk assessment; contingency plan (What can go wrong?)

Curatorship-institutional models Artist as Curator

Curatorship: Institutional Models One who manages or oversees, as the administrative director of a museum collection or library derived from the Latin curator, overseer, from curatus, past participle of curare, to take care of. Institutional models -national galleries, museums or trusts -private collections or corporate art -educational institutions such as universities

Artist as Curator Functions & Responsibilities Liaising with galleries, organisations & stakeholders -social & administrative skills, negotiating the exhibition contract, public relations & media To arrange the exhibition & cover the financial costs -terms & conditions of exhibition contract: -legalities, commission or rental? - spreadsheet covering total costs-materials, framing, transport etc. funding: -personal or art group, arts council grant or loan, a trust grant or is it business sponsored

Artist as Curator-Functions & Responsibilities The design & implementation of the work on display Exhibition title Floor plan, sightlines, lighting & technical support Labeling work, accompanying text & literature Framing and presenting the work to a professional standard Maintaining the artists vision

Artist as Curator-Functions & Responsibilities Logistics-the arrangement of transportation -single date or for a touring exhibition -tour dates & transportation timetable -manpower & time management -vehicle rental

Artist as Curator-Functions & Responsibilities The safeguarding of the objects on display -insurance policy for works on display -public liability insurance -Health & Safety (risk assessment) -Security against vandalism or theft - maintaining a high standard of personal conduct-ethics - maintain the integrity of the artwork on display

Newport Arts Theatre Entrance -Top Gallery

Newport Arts Theatre Upstairs Gallery

Newport Arts Theatre Downstairs Gallery

Opening of Private View for fellow artists, students & guests

Artist as Curator-Functions & Responsibilities Promotion & Marketing Strategy -the design and distribution of posters, invitations, banners etc. -private view with suitable guest-list -exhibition catalogue -to liaise with business or organisations, educational institutions & other artists -to inform radio, art publications, news media - creation of a website, with social media & blogs, hyperlinks

S W T O SWOT ANALYSIS TEMPLATE Primary factors Strengths Weaknesses Advantages Experience, knowledge Unique exhibition Geographical advantage, location Competence, capabilities Quality, reputation Weaknesses Disadvantages Gap in experience, knowledge Financial aspects Reliability and trust Loss of key or technical staff Geographical factors O T Opportunities Networking with strategic alliances, partnerships Professional development Raising artists profile Innovation & experimentation Threats Loss of funding Dispute with terms & conditions Price inflation/deflation Other Galleries within locality Major Events that may conflict with exhibition dates

Local Galleries Mailing List Art & Design Students Visual Arts Promotion & Marketing Local Galleries Mailing List Art & Design Students Local & Regional Artists Friends of Gallery Community Centre Mail Opening Lists √ Website Local Press Advertising Local Press Media Coverage Distribution in City Centre Friends mailing List Posters in City Centre

Promotion & Marketing: Art is not Elitist-poster, invitation & website Website splash page Posters & invitations

Art & Business Investment in culture What next for the arts? Based upon the latest research by Arts & Business published in 2011

Art & Business Research: Tina Mirmiri www.artsandbusiness.org.uk Research by Arts & Business reveals that business is not hard-wired to giving to the arts, clearly its focus is on making a profit. Due to the economic climate business partnerships has fallen year on year and its apparent that its hard to convince business to work with the arts especially with the recent recession. Arts & Business belief is that arts and cultural bodies can engage more effectively with their audience -financially & creatively they benefit more from these relationships. Internationally the UK’s cultural ecology is admired yet it is changing because of present economic conditions, the private sector may be the most powerful funding force for the future.

Arts & Business Private investment in Culture 2009/10 Private investment decreased 3% in real terms to 685 million in 2009/10 Private investment now accounts for 16% of total income for arts & cultural sector 68% of private investment is concentrated in London 72% of private investment is concentrated in major organisations 38% of the sector receives no private investment Trusts & foundations invested 154.6 million after an 11% increase that overtook business investment since 2004 45% of art fundraisers expect private investment to increase in the next financial year Key findings Research: Tina Mirmiri www.artsandbusiness.org.uk

Art & Business Key Findings There will be new challenges with different solutions for cultural fundraising. Its estimated one in six arts organisations will lose funding. With match funding the significant danger is if one source is withdrawn another is lost. ACE analysis (Analysis, Comparison, Evaluation) states that the worst is over with an anticipation of growth. Art & Business Cultural Audit of UK FTSE 100 shows that only around 30% of these business have dynamic arts strategies. Research: Tina Mirmiri Website: www.artsandbusiness.org.uk

Practical Enterprise-Making arts accessible The formation of art groups & organisations Individual & group exhibitions-open art competitions public art installations, commissions Symposiums, workshops & lectures-questionnaires Making art interactive with the audience-community projects, Art & Health-clinics, hospital commissions & projects Art publications-news media Blogs & websites-Tumblyr, artweb, wix.com,wordpress etc. Social media –twitter, facebook, linkedin,

Summary: We have examined some of the fundamental principles behind exhibition conceptualisation & organisation. How to raise the artists profile and initiative through the prescribed method of making presentations, writing grant & project proposals and applying for commissions. We have also explored the fundamentals of curatorship, artist as curator including the relationship between art & business such as private investment in culture plus the implementation of practical enterprise, forming art groups and creating independent initiatives. Finally, we have looked upon engaging and networking with external agencies and partners along with making arts practice accessible.

Fin “A LAZY ARTIST NEVER CREATES A MASTERPIECE”