Opencall rules
- 1. Open Call/Scholarship Rules Sculpture Course Manami Ishimura
- 2. List of Rules 1. Documentation 2. Artist Statement 3. C.V. 4. Bio 5. Find opportunity
- 3. 1. Documentation • How to document your work • Background • Lighting • Detail shots • Remove distracting elements • Labeling • How to edit your work using Photoshop • Crop • Reduce highlight • Capture the full intensity or subtlety of the colors and textures.
- 4. Background –White, black, or grey (*or a meaningful specific site) Remove distracting elements
- 5. Lighting – get rid of unnecessary dark areas or spots
- 6. Detail Shots
- 7. Detail Shots - performance • If your work interacts with people or performer, you need to document BOTH the object and the object in the performance/interaction
- 8. Photoshop - Crop Center or the third grid (the third rule) Make sure the picture is level
- 9. Photoshop – Remove distracting elements Patch tool or Stamp tool
- 10. Photoshop – Shading Create a new layer to shade or patch small details!
- 11. Photoshop – Adjustment: Curve Click the finger icon and put the arrow on the part of photo that you want to change the color balance, and drag up or down
- 12. Photoshop – Reduce highlights Use Stamp Tool
- 13. Labeling File name – At least your name and the title Label your work with: 1. Title 2. Dimensions *always HxWxD !!!! 3. Medium *can be describe the usage too 4. Year 5. Description *a brief explanation with your work sample Docx, pdf, or website
- 14. Description with your work sample • The best way to achieve this is to include a brief explanation with your work sample. This description varies depending on the complexity of the work. *this is not official statement but a supportive information
- 15. 2. Artist Statement • What is Artist Statement? - Artist statement presents insightful information about your process and answer questions viewers might have when looking at your work. • What part of your work would you want viewers to pay attention? - medium, material, form, process, etc…
- 16. Example – Allyson Strafella Statement I began using a typewriter for its obvious function – to record my thoughts and ideas. Communicating is a crucial yet constant struggle for me. The more I typed, the more the letters and words on the pages began to take on a new function, a new language. My discovery of this new language created with my typewriter and paper was one made up of patterns and grids formed by punctuation marks: commas, colons, apostrophes, and brackets. It was as if the typewriter was experiencing a breakdown, and this breakdown as my breakthrough. I had discovered a new way to communicate. There is an endless source of information that can be created through a limited use of materials: paper and a typewriter. I became, and am still, intrigued by this process.
- 17. Why is the statement good? Clear, Simple, and Impressive!!! 1. Clarify questions that viewers would have such as : - How did she come to produce these pieces? - Why is she doing it this way? - Is it done on a computer or a typewriter? - What does it meam? 2. Subject and Object in the sentences are clear Taboo: You/We/ I think/ I want/ good/ like/ hope/ aspire/ attempt/ unique* all art is unique!!!! *A good artist statement informs viewers about the work but does not overly explain it. What you reveal reflects a delicate balance between expressing your ideas and providing just enough information for viewer so they can start their own process of engagement.
- 18. Getting Started: Collecting Information and Composing the First Draft Question yourself: • What does your work look like? (Think about size, colors, shapes, textures, light, objects, relationships, etc…) make sure your description visual • Why do you do it? What is your inspiration? Where does the impetus for making it come from within you? • Write about the work from different points of view, such as conceptual, thematic, and emotional. • Is there a central image or idea in the work? • What are its different elements, and how do they interact within the work? • What kind of materials are you using? Why? • How is it made? What is your process? • How does it use space? How does it relate to the surrounding space? • Where does this work fit into your development as an artists? • How does it relate to other artist’ work? Who inspires you? • What questions are you asked about this work?
- 19. Get Help from Others • Speak out your statement to others and ask their questions • Think it as an interview, and allow the discussion to build naturally as a give and take between their response to your work and your explanation.
- 20. Edit Edit Edit Edit Edit EDIT EDIT EDIT E D I T!! Ask yourself: • Where is the most important information? • Develop a first sentence – can be “why you make art?” “your intention” “What material you use” “a short story” • Is my language accessible to the average reader? - If your statement is difficult to read, it will not be read. Keep it simple. • Is the writing specific to my work, or could this statement be applied to many other artists? - If it is too general (although it is a good start), identify what in your work is particular to you alone. • Does my statement come off as overly aggressive or passive? -Avoid using taboo words: Taboo: You/We/ I think/ I want/ good/ like/ hope/ aspire/ attempt/ unique* all art is unique!!!! • Do I tell reader what their response will be to my work? • Does my writing sound defensive? Ex. This installation is not about conceptual art.
- 21. Reviewer Compose your statement with a sympathetic friend in mind who is genuinely interested in the work and wants to know more about it. Instead of defining your work by what it is not, simply state what it is. Vise Versa You should give a good feedback/questions to inspire your friend.
- 22. What is a good question? 1. Concrete vs. Abstract 2. Poor vs. Essential 3. Your Interest vs. The artist’s interest 4. Experience and Context 5. Empathy / Hardship / Turning Point
- 23. Concrete vs. Abstract How can you get a good idea from the artist? -Be a good interviewer!! -Cannot be too abstract but concrete -Cannot be poor but essential
- 24. Your Interest and the Artist’s Interest The question must be both your interest and the artist’s interest. Child zone – Only you are interested in. Ex. ”how about painting?” to sculpture project Flattery zone – Too maniac and you are not interested in. Ex. What brand of the tool do you like to use?
- 25. Experience and Context • Before you ask the question, question yourself 1. Is it related the artist’s experience ? *Don’t make the artist feel “Is it a question to me?” 1. Is it related the context that the artist currently works on? *Don’t make the artist feel “Why do you ask me now?” A good question example: Although you are working on the abstract mixed media project, do you think your experience of learning representational modeling influences your current style? If so, why?
- 26. Empathy / Hardship / Turning Point • Empathy Find the common interest and share the both interests • Hardship Listen the artist’s hardship and find the concrete episode that enrich the artist statement • Turning Point Find the turning point (Inspiration) or the difference between past and present
- 27. What is a GREAT question? • You listen the artist’s episode, concept, process etc… • You analyze/ conceptualize the artist’s thought (the theme) • Question! *Do not make a question like a vending machine (you know what the answer will be.)
- 28. Resume (C.V.) and Biography • Resume - a brief listing of one’s educational and professional qualification and experience. • Biography - a one-or two paragraph summary of an artist’s major accomplishments written as a narrative. (This is not an artist statement!!) *Your resume is generally the last thing juries scan, after making their first impressions about you and your work from your other materials. Your resume is just INFORMATION!!! Do not worry how much you have done in the art career.
- 29. C.V./Resume • Name & Contact Information – List your name, mailing address (studio or home), phone number, website, email address • Education – List undergraduate, graduate degrees, institution, years granted. • Exhibitions – List the title of the show, venue, city, and state. Group them by year and begin with the most recent and work backwards. *once you have had three solo show, then group solo show and group shows separately. • Awards/Grants/Residencies – Include the names of the organizations, and group them by year received, beginning with the most recent. • Bibliography – This category includes exhibition reviews and catalogues that discuss your work (not only a show). Both print and online media count. Ex. News paper, art magazine, and book • Collections – Limit this list to public collections and well-known corporate and private collections. *If you do not have any, do not break out in sweat, just don’t include it. • Other professional Activities – Freelancing, jobs, (even college teaching/assistant jobs), curating professional membership, and writing. You may summarize resume that focus on your work experience etc.. • Public Commissions, Film Festival, Performance – Depending on your practice, you may wish to include these.
- 30. Example Create ”Professional Experience” or “Museum/ Gallery Experience” if you have assisted an artist or museum/gallery before. Since earlier career artists do not have many records of exhibition, but have more experience as an assistant. You should appeal in the way.
- 31. Bio (Biography) • Your artist biography (bio) summarizes your resume in a narrative form. It will be incorporated into written program flyers, and press releases. • The third person narrative: Not I/My/Me, but she/her/her or he/his/him. • You need to pick your most significant accomplishments and summarize them. • Your bio is also a nice opportunity to include one or two pieces of personal information that may not be included on your resume as where you were born, your interest, environmental issues, etc... • You can also include a sentence or two from your artist statement.
- 32. Example
- 34. Residency Worldwide Artist in Residency Information: https://resartis.org/ https://www.transartists.org/about-residencies https://www.mnartists.org/ American Nationalwide Artist in Residency Information https://www.artistcommunities.org/residencies
- 35. Artist Residencies for Earlier Career in US • Franconia Sculpture Park –Intern Artist in Residency http://www.franconia.org/project/emerging-artist-program/ • Salem Art Works – Young Artist in Residency https://www.salemartworks.org/youngartist • Josephine Sculpture Park https://josephinesculpturepark.org/internships-2/ • NE Sculpture Gallery Factory https://ne-sculpture.org/residency-program
- 36. Exhibition CAA: https://www.collegeart.org/jobs-and- opportunities/opportunities/type/0/20/ Café: https://www.callforentry.org/login/ Texas Open Call: https://glasstire.com/2020/02/19/attention-artists- upcoming-open-call-deadlines-for-your-perusal/
Editor's Notes
- #16: Artist statement presents insightful information about your process and answer questions viewers might have when looking at your work. Remember, 99% of the time your art will be viewed without you nearby. You won’t be able to answer viewer’s questions, offer fascinating background information about where the ideas came from, describe your working process.