Organising An Exhibition

This handout looks at the practicalities of organising exhibitions in smaller galleries or non-art venues rather than at mounting a show in a gallery which has specialist staff and an annual programme of exhibitions.

PLACES TO EXHIBIT

In deciding where to exhibit, artists have to think about the advantages and disadvantages of using each of the following types of space. Each will attract a different type of audience and thus will present its own challenges and benefits to exhibitors. Galleries Small galleries including those which hire out space or offer it on commercial terms Exhibition spaces in colleges, schools, universities Artist-run spaces which may be linked with artists studios or resources Temporary and alternative spaces Vacant shops, offices, historically interesting buildings, warehouses etc Display or exhibition spaces Theatres, cinemas, restaurants and cafes Leisure or sports centres, hospitals, council offices, churches Shop windows, display boards at railways, bust stations, airports, underground Public areas such as conference rooms, reception areas, staff restaurants, hotel foyers Community venues Outdoor sites public or private places such as parks, fields, recreation areas Art or craft fairs

SUITABILITY FOR YOUR NEEDS

Deciding whom you want to attract to the exhibition and what you expect it to achieve for you will help you to decide which site to go for and the most appropriate way to promote and publicise the exhibition. Audience and market. Who do you want to come? The art world including artists, critics, curators and exhibition organizers, dealers etc Schools including children, teachers, art advisers etc Architects and other types of design professionals Buyers and collectors A specific community, cultural group or people specifically connected with the issues addressed in your exhibition Tourists A broad section of the general public? Identify your main reason for having a show as this will also help you to select the venue for it. Do you see it as self-development, a way to check and review a working process or artistic concept? Do you want to gain the attention of curators and developing your exhibiting career? Do you want to promote and sell the work you have produced? Do you want to use a show to promote yourself and gain other work eg commissions, teaching, placements? Display Also consider: The security of the space during the day and at night How the exhibition will be supervised when open to visitors Whether the space is suitable for running any events or activities you have in mind

PLANNING THE EXHIBITION

Once you have established where you will be showing and why, allow plenty of time to: Ensure you have enough work for the space or time to create a site-specific installation Raise any funds needed Develop a mailing list for your publicity Prepare exhibition publicity poster, invitations, information sheets, catalogue Prepare exhibition display material labels, wallboards etc Organise the preview Obtain insurance cover Organise any subsidiary events such as talks, workshops etc Do framing, presentation and installation Sort out transport Prepare pre-exhibition photographs to send out with press releases to key arts magazines/websites etc

BUDGETING

An exhibition budget may include some or all of the following expenditure headings: Cost of hiring the space and refurbishing it to use for an exhibition and returning it to original state Rates, electricity, gas Insurance of building, space, exhibits, public liability Security alarm system, overnight invigilation Publicity poster, invitations, catalogue, photography, adverts, preview card, postage Framing, mounting, display cases, plinths, rental of digital display equipment Purchase of technical services, equipment hire Transport and packing materials bubble wrap!! Installation costs Preview costs Press information Telephone, stationary, photocopying, travel

 Casual labour to install or staff the exhibition invigilation/bar staff Documentation of exhibition and events Contingency equipment to 5% of total to cover increases, unforeseen charges etc Income may be derived from some of the following: Sale of work Sale of catalogue, postcards Sale of drinks at preview check legality of this in advance, participation in events/workshops etc Fees for holding talks or workshops for schools, community groups Grants regional arts board, local arts councils or associations, local authority art, leisure or recreation departments, charitable trusts and foundations in kind sponsorship free materials, wine, publicity etc sponsorship from business, tourist board etc

ACCOMPANYING ACTIVITIES

Would your exhibition be enhanced by a programme of accompanying activities, or would this detract from sales and incur unwelcome expenditure on materials, insurance and specialist publicity? Public involvement with an exhibition is often of interest to potential funders and may also attract a larger audience to the exhibition as well as encouraging press and media attention. You may find it an advantage to offer: Workshops for schools, social services, unemployed centres, adult education organizations etc Demonstrations Talks or lectures for art students, amateur art groups, school or community groups Short-term residencies Guided tours either formally or informally To work with a school on a special project based around the exhibition

CONTRACTS

Use of a contract, which is a legally binding agreement setting out respective responsibilities, minimizes misunderstandings and ensures a professional arrangement between exhibitor and venue. The following is a summary drawn from the NAA Public Exhibition Contract. This has been designed to deal with most public exhibition needs and can be adapted to suit specific circumstances. A contract or agreement should cover the following points as relevant: Name and address of gallery or venue Name and address of artist(s) Title of exhibition If a group show, names of other artists Dates of exhibition and opening hours Preview date and arrangements Collection/delivery of work arrangements Insurance Installation arrangements Security arrangements Publicity and promotion arrangements Details of accompanying activities Artists fees and expenses List of works with retail price (including VAT where appropriate) Description of who is responsible for any fundraising Copyright and moral rights Termination arrangements Schedule listing works to be exhibited or description of installation Signature of parties concerned

DOCUMENTATION

Visual documentation of the exhibition is valuable when applying for other shows and work opportunities, to show to funders and supporters and to go to the press and media. It is useful to take photographs of both the exhibition and any accompanying activities. With installations, documentation may include video as well as still photography.

To document the exhibition as a whole, use a folder to contain: Photographs/DVDs Exhibition publicity Reviews and other press cuttings