Photography

Good photography is incredibly important in the art world, so I took a friend's advice and hired a professional for my outdoor art installation. Yesterday morning, when the sun came out after having had a few days of heavy rain, I met architectural photographers Stewart Clements and Will Howcroft from Clements and Howcroft on site in Cambridge, MA.

They shot my piece from many angles, both at a distance and close up, and from the front and also the back. Will was on the camera and Stewart on a laptop (shown here under the brown blanket so he could block the sun's reflection from his laptop screen). They coordinated color, contrast, line, and etc between my piece and the buildings nearby. I really liked working with them and I look forward to seeing the images in the next week or so.

When the images are ready, I'll pick the ones I want to use, and then I'll replace the not so great images I took that are on my website with theirs, and I'll also post some here on my blog.

Thanks, and an apology, also go to my dear husband for the brown blanket that he keeps putting in the back of the car, even though I keep complaining about how much room it is taking up. It was put to good use during the photo shoot.

Portfolio Reviews, Thank You Notes, and Portfolios

I attended the 2011 Conference on International Opportunities in the Arts in Boston, from last Thursday through yesterday. Besides the many panel sessions that I attended, I also had "mentoring sessions" with two Boston galleries and one Massachusetts college gallery.

They were basically portfolio reviews. I researched the available reviewers before making my choices when I registered for the conference. Most of my friends also attending wanted to meet with people from other states or countries, but I wanted to meet with people from eastern Massachusetts.

I brought my ipad so I could show my portfolio to them, as well as three pieces of work that were small enough to carry with me, to show the texture of my artwork. Digital and printed images do not show texture, not matter how wonderful your images are.

It was good to get feedback on my work now that I'm working on boards or stiffened fabric. Two of the three sessions were very helpful and informative. The third was pleasant, and I did get some feedback, but much of the time was spent listening to how difficult it is to show abstract art in Boston, which I already knew.

As I always do, I'm sending thank you notes to all of my reviewers, and two will get my portfolio packet, which I hope they will keep for future reference. I'm also sending thank you notes to the jurors from a recent show I've participated in, and a portfolio to the gallery. I find that thank you's are very much worth the time.

In fact, to share how well thank you notes are received. A few weeks ago I got to meet someone who bought my work at a show a year ago. She told me that she buys work when ever she is able, and she has never received a thank you note for her purchase, until I sent one. It left a huge impression, and I was glad to hear how much she appreciated it.

Sent Out More Portfolios

I've took advantage of a quiet end of summer and put together portfolios that I sent out to some galleries, and also sent portfolio updates to some art consultants and galleries who already have my portfolio. Above is the cover page I sent along with my original package.

Now I will wait and see if there is interest, and I'll also get more ready to send out to other venues.

More Portfolio Reviews

I participated in more portfolio reviews yesterday. This time they were sponsored by an art marketing class I took two years ago. When I did them on May 2nd, they were through a different organization.

This time, my portfolio reviewers consisted of one college gallery director, one in-house corporate art consultant, and one art consultant who works for a company that places art in businesses and other institutions. When I registered, I specifically asked to meet with the two art consultants because I wanted more info about what they may be looking for. Meeting with them was research for me, because I was already planning on sending my portfolio to a group of art consultants ASAP.

Like my portfolio review two weeks ago, once again I brought nine pieces of new work with me. Seven are mounted on boards (one of my Slivers of Fences series, two of my Patterns in Fences series, two from Traces of Past Fences, and two Fence Details), and two pieces created with stiffened fabric (one Weathered Fences series and one Walls from Fences series). I wanted to show larger and smaller work in slightly different mediums. And, I also brought my portfolio which I presented on an ipad.

The reviewers got to touch the Weathered Fences piece, look through the holes, and see that they're two sided. Two were really interested in them shown on the wall with shadows. One reviewer talked about possibly exhibiting them behind plexiglass to protect them from being touched. It didn't seem to be a problem that they are large and the plexi would add to the cost.

We discussed my possibly making smaller Walls from Fences pieces that could framed or mounted behind glass. The piece I brought is 46" x 24", and I think half or a quarter of the size would work very well presented that way.

They really responded nicely to my work on boards. I was told that my work is mature and that my craftsmanship was excellent, which was a nice compliment. I was glad that the texture and line from the stitching on these pieces was appreciated. One art consultant was interested in showing her clients a grouping of my 10" square Patterns in Fences series, and she especially loved the 18" square size of my Slivers of Fences series. She said 18"+ was a good corporate size for her clients, and that I should make more work on boards that are 18" or even slightly larger.

Besides showing actual work, I also showed them my portfolio via my ipad. It's easy to use and look at because the images are crystal clear, and it's really easy to flip from page to page at your convenience just by moving your finger across the screen. This time I added installation shots of my work mounted on boards, showing them in groups on exhibit, to show how they look on the wall. That went over very well. I didn't have these shots two weeks ago, and was asked to see them a few times, so I did update my portfolio for this review. I'm glad I did.

I also showed pictures of my installation in the Studios Without Walls show (that's on exhibit now), pictures of the new installation in my back yard. One reviewer was very interested in the work installed outside on the tree (more 3D), and one was more interested in the flat piece in my back yard, which is more screen-like (or 2D).

Both art consultants asked about how my work will age over time, in terms of fading or falling apart. The paints I use are acrylic based and don't fade, and the printed/painted/stitched fabric is attached to the boards with matt medium which is archival, so there's no worry about them in the future.

My next step is to send each of my reviewers a thank-you note, and to send my portfolio to all three, one of whom wanted materials immediately so I'll be emailing that to her later today.

Portfolio Review

This morning I participated in a another portfolio review that was hosted by a Boston area Art Association, after participating in them previously in 2009 and in 2008.

For anyone who doesn't know what a Portfolio Review is: "The Portfolio Review is an opportunity to receive serious one-on-one critiques (each lasting twenty minutes) from gallery owners, museum curators, and influential experts in the art field."

This year my portfolio reviewers consisted of one curator who recently worked at a well known and respected Rhode Island Art Museum, a curator/educator/artist from a university in the southern USA, and the third is the gallery manager of a well known and respected Boston art gallery that was established in the 1970's.

This year I brought with me nine pieces of new work. Seven are mounted on boards (one of my Slivers of Fences series, two of my Patterns in Fences series, two from Traces of Past Fences, and two Fence Details), and two pieces created with stiffened fabric (one Weathered Fences series and one Walls from Fences series). I wanted to show larger work and smaller work, in (ever so) slightly different mediums. And, I also brought my portfolio which I presented on an ipad.

I found that presenting my work on the ipad was easy to use and look at because it's really easy to flip from page to page at your convenience just by moving your finger across the screen. Definitely worth the investment! (Last year I had a printed portfolio, but I think the digital quality looks much better than what I get from my printer, and there's no ink or paper expense when using an ipad.)

Last year I mentioned here on this blog that "All three reviewers suggested I try to create some three dimensional work, to push past what I'm doing. It wasn't a criticism of my work, just a suggestion to take advantage of the relationship between the role of the construction fences and my work. Words like "installation" and "sculpture" came up all three times. Very interesting!"

This year I showed the three reviewers, who are different that those from last year, pictures from my installation in the Studios Without Walls (that is on exhibit now), along with the Weathered Fences piece I brought (so they could touch it and see through the holes), and they all responded very well about both, and encouraged me to do more installations. One also suggested a specific residency program that she thought I should investigate, and I will. I found it interesting that all three reviewers (even though one was from a museum, one from a gallery, and one a combo) were all were interested in installations, even though they focus on different kinds of work and exhibit spaces.

They also responded nicely to my work on boards, and I was relieved that the word quilt only came up when I give a short explanation of how my work has changed in the past year. I had met with the curator/educator/artist from a university at the portfolio review two years ago, so I was very excited to show her how my work has changed and how it hasn't, and she was very supportive.

If you ever have the opportunity to participate in a portfolio review, I suggest you do. You will learn a lot about yourself, your art, how you communicate about your art, and how professionals in the art world relate to your work.

To be perfectly honest, when I participated in 2008, I got a migraine immediately afterward because I was so stressed out from the experience. Last year I left feeling a little confused about my work because I had no idea how to think about possibly doing an installation, and I also was concerned about the way the reviewers responded to my quilting, even if my work was about the printmaking and painting. This year I left feeling very good about my decision to stop quilting, that I'm mounting some work on boards, and I've started working with installations too. Today I also felt much more comfortable talking about my work, and asking for input, so no migraine this time.

I look forward to doing another portfolio review, in Boston in two weeks, through a different organization. I have asked to have at least one or two art consultants as my reviewers. I hope I do get to talk to them because they look at work in a totally different way.

My next step is to send each of my reviewers a thank-you note, and I will take all of their advice under consideration, and try to think of ways to use their suggestions in a way that it feels comfortable to me.

Portfolio Review

Yesterday I took part in a "Portfolio Review" that was hosted by a Boston area Art Association. This was my second time doing a Portfolio Review. I also did it when it was hosted by the same organization last May.

Quoting from the website of the Art Association, "a portfolio review is a way for emerging and established artists to meet art professionals across several disciplines, present a portfolio of work to them, and make contacts that can be followed up on which will hopefully help the artist meet his or her goals. During the course of the review day, each artist is provided with three (3) twenty-minute reviews in which artists meet one-on-one with a reviewer to show him or her their art."

My portfolio reviewers consisted of one assistant curator of well known and respected Boston area Art Museum, one director of exhibitions at a Boston area art gallery, and the third was the owner/curator of another Boston area art gallery.


I brought with me seven pieces from my monthly 12 x 12 x 12 Series, mounted on canvas, and my portfolio, which had photos of about a dozen Orange Construction Fence Series in it, as well as my resume and other info about me.

I learned a lot, including the fact that I either need to add a swatch of actual work to my portfolio, or include detail photos of pieces. All viewers said that it is impossible to understand the detail in my work from pictures alone. I sort of knew that, but hearing them validate it, and hearing their suggestions about how to show the detail was very valuable.

It was interesting that all three reviewers liked seeing my 12 x 12's so they could understand the texture of my work, but they had different comments about them. One didn't like them mounted at all. Another reviewer thought they should have the fabric continue over the edge of the canvas, and perhaps be on a deeper canvas. The third reviewer was fine with them as they were, and thought they'd look good as a series, hung in a grid on a wall.

All wanted to see my Orange Construction Fence Series, not just photographs. I didn't bring them with me this year because last year they felt like tablecloths laying on the reviewer's table, and not being shown on the wall. They felt crafty, and I didn't want to present them that way. I guess I should have brought them anyway. Oh well.

All three reviewers suggested I try to create some three dimensional work, to push past what I'm doing. It wasn't a criticism of my work, just a suggestion to take advantage of the relationship between the role of the construction fences and my work. Words like "installation" and "sculpture" came up all three times. Very interesting! Also a little problematic, since my studio is a small bedroom in my house, but I'm going to consider my options. Right off the top of my head I have an idea of one way to try that could work well given my space issue. Let me experiment with it a little before I discuss it here on my blog.

One reviewer didn't like that I named my work by series names. She wanted to see different names than "Orange Construction Fence Series" with a number, or "12 x 12 x 12 Series" with a date. Hmmmm.

It's important to remember that these were the opinions of three people, and three others may have had completely different opinions. As I create new work, I also need to remember the opinions of the gallery that is now representing me, because that relationship is extremely important to me.

If you ever have the opportunity to participate in a portfolio review, I suggest you do it. You will learn a lot about yourself, your art, how you communicate about your art, and how professionals in the art world relate to your work. I look forward to doing it again in the Boston area, and if possible, in different locations. One participating artist flew in from Chicago. I was very impressed that she came to Boston to do this, and I hope to follow her example some day and try it elsewhere.

My next step is to send each of my reviewers a thank-you note, and I will take all of their advice under consideration, and try to think of ways to use their suggestions in a way that it feels comfortable to me.

Returned Portfolios

I send my portfolio out to museums and galleries that I think might be appropriate matches for my art work. Sometimes they are interested and sometimes not. Sometimes I get my portfolios back and sometimes not.

Last week I got two of my portfolios returned. One I had sent to a local art museum a few months ago. They sent a very nice note saying they didn't think I was a good fit. The second portfolio was one that I sent to a college art gallery in December 2005. I had written that one off long ago, but there it was in my mailbox, in my SASE. Inside the envelope was another nice note, and an explanation about it getting lost in the shuffle, but also saying no thank you.

From October to December 2005 I sent my portfolio out to eight galleries and museums, and to date, I have only received three of them back. That's sort of a bummer because at that time I sent 20 slides, which are costly, versus sending a CD, which I do now. It's still a bummer not getting portfolios with CDs back, but at least my cost is lower.

In December 2006 I sent my portfolio to a college art gallery, who got in touch with me in late December 2008, which was a good lesson learned about not giving up hope. This gallery has offered me a one person show, but I'm not going to announce where it is until I have a confirmed contract. Hopefully that will happen soon.

My message here is twofold. One, don't give up hope about hearing from a gallery or museum you've contacted, even if it may take months or years. Two, don't take art rejections personally. What one venue might not feel is appropriate, hopefully an other will.

Lesson Learned

Since 2006, I have been sending my portfolio out to different galleries that either show work or have philosophies that are in line with the art I create, or that have had requests for proposals. I must admit that I have not had much success. Most of the time I have never heard back from the gallery, even though I have included return postage and packaging with my inquiry. A few galleries have returned my materials, but very few.

Very recently I get an email inviting me to have a one person show in a college gallery (I'll post where as soon as the details are confirmed), that I sent my portfolio to in December 2006. Like every other gallery I submitted to, and didn't hear back from them, and I had given up hope.

There's a lesson learned here. Sometimes some galleries do keep portfolios, instead of throwing them in the trash. I am very glad this gallery got in touch with me, and that I will have a one person show. Their gallery space is HUGE, so it will give me an opportunity to show a lot of work. I've got some great ideas, including mounting and showing all of my 12 x 12 x 12 Series, as well as some already created Orange Construction Fence Series from 2008 and earlier, and new work from 2009.

Portfolio

I'm taking a class called Artist's Professional Toolbox, that is being run by The Volunteer Lawyers for the Arts of Massachusetts, Inc. This program is for practicing artists, and is designed to teach the skills necessary to help us work on our career goals, learn about copyright and trademark laws, contracts, financial planning, bettering our portfolios, how to approach galleries, etc. I'll write more about the class again soon, but in the mean time.....

I have not submitted my portfolio to any galleries in a few years. Since taking the class, I have a better knowledge of how to present myself via my portfolio. Yesterday, I sent my portfolio to a gallery I have admired for years, which shows work that I feel mine would fit in nicely. I have no idea if the gallery will be interested or not, but you can't get anywhere if you don't try. This is a peek of what my portfolio looked like before I packaged it up.