Student Juried Exhibition Contribution

-April 4th and 5th: Helped place, set up, and install artwork
-Helped with cosmetic tasks (patching walls, clean-up)
-Made gallery labels for show
- Helped de-install previous show in capstone gallery
____________________________________________

The biggest challenge in the completion of installing/de-installing was navigating the specifics of proper gallery art installation. Moving and placing the art was simple, but I had difficulty wrapping my head around the hanging/installation specifications. I learned from this challenge the technical aspects of art installation. Moreover, I found this incredibly valuable because I feel as though I can better navigate shows like this in the future. I think that I would do more preemptive research on gallery installation specifications and the artwork to be exhibited in order to better my input and participation.

Toucan Gallery

Functional considerations:

• Has traffic flow been planned for in the gallery space?

-          Yes, the layout of the gallery facilitates a relatively high traffic flow.

• How has the space been designed to serve multiple purposes (frame shop; openings; boutique, etc.)? Do you see any potential problems with traffic flow or the exhibition of artworks? If so, what are they?

-          It is pretty well organized in this respect. All works are displayed in a touch-friendly way, and are accessible to anyone potentially wanting to buy. The space is designed to display, sell, and frame work, and is organized in that order. I don’t necessarily foresee any traffic flow issues because of this.

Formal considerations:

• Describe the typographic aesthetics: evaluate its effectiveness. How do the choices of fonts, etc. on the signs and signage complement or detract from the artwork?

-          Overall I think that the typographic aesthetics of the Toucan Gallery are effective. They are easy to read, not convoluted, and well designed. Some of the signage inside the space goes a little bit beyond a simple typographic aesthetic, but I didn’t personally think that it detracted from the artwork.

• Is there visual unity of elements/components within the displays in the gallery space and within the window displays? Explain why or why not?
  Is there a clear information hierarchy throughout? If so, how is this achieved?

-          Yes, there was a clear information hierarchy. This was achieved simply by the way they’ve organized the work and frame shop area. The Toucan actually had a very strong visual unity of elements and components within the displays. I think this was due to the fact that this gallery had a specific type of content they want in the artwork that they show. This would ultimately have a sense of cohesiveness consequentially.  

• Does the gallery seem to have a visual style? If so, describe it. Is it appropriate to the type of gallery this is? Why or why not?

-          The visual style of this gallery seems to be contemporary “Montana Art.” There are lots of pieces with nature and local wildlife mixed with aesthetic aspects of contemporary painting. Additionally, the element of technical skill is prevalent through much of the ceramics and crafts pieces displayed. I think it’s pretty appropriate given that it is located in the downtown area of the biggest city in Montana.

Conceptual considerations:

• Describe the overall message of the gallery (as you understand it) in one sentence. You may wish to refer to the gallery website.

-          The overall message, I think, is that they want art to be ultimately accessible (both monetary-wise and culturally) and enjoyed to its fullest potential.

• Does the organization of the work in the gallery have a linear sequence (a beginning and ending point), or is it a fluid sequence (the visitor can start at any point in the exhibit and move to any other point?)?

-          It’s a relatively fluid experience. The artwork is organized, but the variety in each display allows and encourages the visitor to look at everything.

• Is the type of sequence effective? If not, how would you improve it?

-          Considering that they are inherently an art selling business, I would have to say yes.

Visitor observations:

• What do you believe would be the most and least popular aspects of this gallery space for visitors under the age of 25?

-          Most: The accessibility and playfulness of the merchandise and store. Least: Formal gallery aspects and frame shop

• What are the most and least popular aspects of this gallery for visitors over the age of 25?

-          Most: Diversity of the artwork and frame shop. Least: Merchandise that is geared towards a much younger age group.

• Can visitors share their experiences of the art with others, or are they designed to be individual artistic experiences? Explain.

-          I would say both. The gallery is set up as a store and to be a social experience because it has an atmosphere of gathering. However, the presentation of the merchandise (artwork) allows an individual to have their own artistic experiences as well.

• If you could change one thing in this gallery space, what would it be? Why?

-          I’m not sure that I would find it necessary to change anything in the gallery space. All of the aspects of this gallery (organization, message, etc.) work together and create a successful art gallery environment.

Blog Post #7

Artist Letter of Agreement


Montana State University Billings
 
1500 University Drive
 
Billings, MT 59101-0245
 
Leanne Gilbertson, Gallery Director
 
 Liberal Arts Building Room #100

406-657-2903


Dear Deborah:

Thank you for agreeing to exhibit your work at the Northcutt Steele Gallery. Below are the terms of agreement and agreement contract for your visit. If you have any questions or concerns, or need any clarification, please contact me.

Please sign and date these materials and submit them to me no later than May 1, 2017.

Thank you,

Leanne Gilbertson

leanne.gilbertson@msubillings.edu

Exhibition Calls: Review

MAEP:
http://maep.mnartists.org/

Information: deadline, guidelines, aspects of proposal, tips for the application, and contact information. 
Pros: clear and concise information, information about organization, tips for successful applications. 
Cons: deadline time, design elements



Box13: 
http://box13artspace.com/proposals/

Information: deadline, submission criteria, gallery dimensions, and contact information. 
Pros: the inclusion of links to gallery dimensions, unique statement about gallery space 
Cons: the contact information was in the form of a link instead of an upfront listing



Akimbo: 
http://www.akimbo.ca/18558

Information: deadline, aspects of exhibition call, proposal elements, submission email, and contact information. 
Pros: specificity of information, clear and helpful information for artists 
Cons: design of call isn't very reader friendly

MYTHE FATALE: FALL 2017 EXHIBITION CALL 

  

DEADLINE: JUNE 6TH, 2017 

    

The Northcutt Steele Gallery is now accepting proposals from artists that are able to speak to the deconstruction and critique of gender. We are interested in artists that can conceptualize the constructs, stigmas, and myths of gender.  Work should exhibit: 

  

• An intentional and attentive use of materials   
• Clear and cohesive content   
• An ability to communicate an authentic experience       

All submissions should include:

• Digital portfolio including 10-12 images (JPG format) 
• Exhibition proposal (500 word limit)
• General artist statement (500 word limit)
• Artistic resume (PDF format) 

These submissions will be reviewed by a committee and should be submitted digitally to leanne.gilbertson@msubillings.edu.

Contact Us:

Exhibition Director Dr. Leanne Gilbertson

Phone: (406)-657-2903

Email: Leanne.Gilbertson@msubillings.edu

Address: Liberal Arts Building, 1st Floor

1500 University Drive Billings, MT 59101

 

Exhibition Label (Revision)

 

     Brenna Lacy 

     Collective Unconscious

     2014

     Digital Print

     11" x 14"

Collective Unconscious is a digitally manipulated work intended to rally mental conflict. It emphasizes the physical human form while permitting no physical identity. The identity lies in the contexts of the image. 

This piece is intended to reinforce the idea that the past does live within a collective unconscious. In other words, the past may not physically exist, but it certainly shines in human memory. Iniquity does not care about the identity or epoch of any given being. It only needs a willing host and an indifferent audience.

Exhibition Label

Brenna Lacy

Collective Unconscious

2014

Digital Print

11" x 14"

 

Collective Unconscious is a digitally manipulated work intended to evoke cognitive dissonance in the viewer. It emphasizes the physical human form while giving the viewer no physical identity. The identity lies in the contexts of the image. 

This piece is intended to reinforce the idea that the past does live within a collective unconscious. Iniquity does not care about the identity or epoch of any given being. It only needs a willing host and an indifferent audience.