Creating my own Exhibition (1): Background and Starting Point

Creating my own Exhibition (1): Background and Starting Point

Introduction

"Me",  Open Exhibition, Ferens Art Gallery (my artwork "Hide" bottom right)

Over the previous eighteen months I have been developing my practice with a view to producing an exhibition of my work in August this year.

I  initially built up my knowledge and skills in preparation for creating a successful exhibition in four key areas:

- continuing to compete and exhibit in local and regional galleries as part of large-scale exhibitions

- visiting regional and national exhibitions and galleries

- interviewing practising visual artists and curators

- holding an exhibition/small show of my works at Hull College (May, 2019) and at a Symposium (January, 2020)

This was the starting point for my early ideas, discussions and visits in preparation for the Exhibition.

Participation in Local and Regional Exhibitions

Over the previous few months I have been successful in having my work selected for some local and regional exhibitions.

I showed some of my work at the Hull Fishing Heritage Exhibition (see blog entry 23 July, 2019).

The North Lincolnshire Open Exhibition, the Ropewalk, Barton was more competitive, and a larger, regional exhibition in an Art Space sponsored by the Arts Council (see blog entry 15 July, 2020).

The exhibitions at Nunnington Hall and Burton Constable Hall were in "stately homes" and formed part of their Christmas 2019 functions (see blog entry 10 November, 2019).

At the beginning of 2020 I was successful in having work chosen for both the Beverley and Ferens Open Exhibitions.

Beverley Art Gallery

"Horkstow Bridge" (bottom right), Beverley Art Gallery

Ferens Art Gallery

Visitor looking at "Hide", Ferens Art Gallery (bottom centre) 

What I learned

I went to the opening of the exhibitions. My purpose was to research the curation of different types of exhibitions and how curators can approach their topic. This may vary from the way a gallery is set out, to the concept behind the approach. My purpose is to gain insight into how I may improve the curation of my own work.

For example, at the Ropewalk my prints were on display in the Art Space, which is the larger of the two galleries. The  prints were included in a span of other monochrome works, which the curators had picked out as complementary. Some of the other prints alongside my own were lino cuts and screen prints. They were displayed in a minimalist style where they were shown to maximum effect in a single row on a plain white background. There was no over crowding or mixing of styles or colour, which was very effective.

On the other hand, my third work was included in a run of prints of landscapes and other topics, some of which were in colour. Mine was placed above another landscape which complemented my theme. Some of the prints on this wall of the gallery were in bright colours, which gave variety. I was interested in the use of colour and in the way they were displayed.

  

Visits to Exhibitions and Galleries

Over the previous twelve months I have visited the following exhibitions and galleries and followed up my visits with entries in my blog:

"Brantwood", Cumbria (see blog entry 22 June, 2019)

York Art Gallery, "Ruskin, Turner and the Storm Cloud" (see blog entry 27 June, 2019)

Hull University Art Gallery (see blog entry 22 July, 2019)

Huddersfield Art Gallery, Mandy Payne "Out of Time" (see blog entry 18 October, 2019)

Print Makers' Council Exhbition,  "Land, Sea and Sky" (see blog entry 5 November, 2019

What I learned

When I visited the exhibitions I considered how the works had been curated. For instance York Art Gallery looked at themes which ran through the works. In addition, artist Emma Stibbon RA had been commissioned to create a response to the environmental concerns raised by Ruskin. This part of the exhibition was a good example of how we can learn from previous artists, build on their themes and make them relevant in today's society.

When I visited the Hull University Art Collection I was fortunate in being able to meet  the director, John Bernasconi. He explained the layout of the galleries and the thinking behind the scheme. The paintings are hung mainly in chronological order, but with areas covering particular schools or key themes. To illustrate the importance of curation, he told me how he gave an important, highly original work by Sir Stanley Spencer prominence, by hanging it in the middle of the wall at the end of  the run of galleries to each side.

During this process I was able to build up further insights into curation and the holding of an exhibition.

Interviews and Discussions with Practising Artists and Curators

In August last year I had a very informative interview with contemporary artist Mandy Payne who specialises in the Brutalist architecture of a housing estate in Sheffield. She uses her work to make political and social comments (see blog entry 23 August, 2019).

Following my interview, she invited me to the opening of her Exhibition "Out of Time" at the Huddersfield Art Gallery. I was also able to speak with Mandy again at this event (see blog entry 18 October, 2019).

I also interviewed Richard Hatfield, artist and curator at the Ropewalk, Barton. We had a wide ranging discussion where Richard compared curating an exhibition for a single artist which would be very focussed, with a  more general, open event (see blog entry 25 July, 2019).

What I learned

Mandy's paintings on concrete were set within a wooden frame, whilst others were hung without any frame. The unframed concrete made more of an impact as the materiality of the substance was clearly in view. The gallery was well lit and the paintings hung spaciously. The glass cabinet was a good way of exhibiting the prints and viewers were engaged and enthused by the  interaction with Mandy and those present.

I learned a lot about curation from my interview with Richard, which I can use in my own practice.  I can build on his insights into grouping works with subtle connections. The ideas about getting a good "mix" and blending in the colours will also be useful, as will the fact that it is a good idea to deal with more individual works first. It was interesting to learn how to display works and invoke the attention of the viewer in subtle ways, so that they are not necessarily aware of the time and effort which has gone into the thinking behind setting up and hanging an exhibition or show.

My own Exhibition/Small Show






Small Exhibition, Studio, May, 2019

I held a small exhibition of my own work in my studio at Hull College in May last year (see blog entry 8 June, 2019).

What I learned

At the time I summarised what I had learned and concluded that:

"My paintings can go bigger and I can try different canvases. My print making can progress with further selective use of processes and colour. I feel that I have successful created a synergy between my research into artists and my practical work (including practitioners such as Michael Raedecker).

My work is now coming together and I feel that I have made a break through where each part of my practice influences the other. It is a good base from which I can move forward over the next few months." (June, 2019)

Conclusions and Next Steps

Throughout the previous twelve months I have been concentrating on achieving the goals I set out above.

Since January, 2020 I have produced six large scale (three feet by four feet) oil paintings on the theme of the River Hull. I have also produced a set of prints on the same subject and used a combination of printing techniques and introduced colour. I have continued to integrate the concepts set out in my Practice Statement and created synergy with the artists who inspire me.

My aim now is to achieve a successful exhibition of my practice by working up the ideas I have outlined above