1. PROFESSIONAL PRACTICE & ENTERPRISE in the Arts
Presented by Mark Parkin
PROFESSIONAL PRACTICE & ENTERPRISE in the Arts

2. Module Aims
Aims
to address all the related elements that underpin Fine Arts practice & enterprise such as conceptualisation & organisation, to examine curatorship and its institutional models inclusive of the artist as curator, to making arts practice accessible to your audience.

3. Module Objectives
To research and examine the fundamental components that underpin professional practice & enterprise in contemporary fine art today.
To determine some key findings between Contemporary Art & Business.

4. Exhibition conceptualisation & organisation

5. Exhibition Conceptualisation & Organisation
Vision: Statement of intent/Art Practice Proposal
Key Factors;
-Who are you and what are you doing?
-How and where?
-Why are you doing it; the purpose behind your art practice?
-Phenomenology-processes & materials?
-Type of Research supporting your practice(primary & secondary)?

6. Conceptualisatation The main objectives of the project-achievement;
Who will benefit ?
(Community, Education, Arts & Health etc.)
Final outcomes of the project and how will it aid in your professional development?

7. Organisation Fundamentals: Research into the gallery or public space
Examine the location & audience-benefits/disadvantages
Approach the gallery followed by a written proposal
Establish the dates-single or touring exhibition
Establish an exhibition contract
Timetable & time management-diary

8. Organisation Fundamentals Funding the exhibition-what are the costs?
Marketing strategy-Promotion-SWOT analysis
Transport schedule-manpower-technical staff
Ethics-legislative, copyright etc.
Health & Safety
Risk assessment; contingency plan (What can go wrong?)

9. Curatorship-institutional models Artist as Curator

10. Curatorship: Institutional Models
One who manages or oversees, as the administrative director of a museum collection or library derived from the Latin curator, overseer, from curatus, past participle of curare, to take care of.
Institutional models
-national galleries, museums or trusts
-private collections or corporate art
-educational institutions such as universities

11. Artist as Curator Functions & Responsibilities
Liaising with galleries, organisations & stakeholders
-social & administrative skills, negotiating the exhibition contract, public relations & media
To arrange the exhibition & cover the financial costs
-terms & conditions of exhibition contract:
-legalities, commission or rental?
- spreadsheet covering total costs-materials, framing, transport etc.
funding:
-personal or art group, arts council grant or loan, a trust grant or is it business sponsored

12. Artist as Curator-Functions & Responsibilities
The design & implementation of the work on display
Exhibition title
Floor plan, sightlines, lighting & technical support
Labeling work, accompanying text & literature
Framing and presenting the work to a professional standard
Maintaining the artists vision

13. Artist as Curator-Functions & Responsibilities
Logistics-the arrangement of transportation
-single date or for a touring exhibition
-tour dates & transportation timetable
-manpower & time management
-vehicle rental

14. Artist as Curator-Functions & Responsibilities
The safeguarding of the objects on display
-insurance policy for works on display
-public liability insurance
-Health & Safety (risk assessment)
-Security against vandalism or theft
- maintaining a high standard of personal conduct-ethics
- maintain the integrity of the artwork on display

15. Newport Arts Theatre
Entrance -Top Gallery

16. Newport Arts Theatre
Upstairs Gallery

17. Newport Arts Theatre
Downstairs Gallery

18. Opening of Private View for fellow artists, students & guests

19. Artist as Curator-Functions & Responsibilities
Promotion & Marketing Strategy
-the design and distribution of posters, invitations, banners etc.
-private view with suitable guest-list
-exhibition catalogue
-to liaise with business or organisations, educational institutions & other artists
-to inform radio, art publications, news media
- creation of a website, with social media & blogs, hyperlinks

20. S W T O SWOT ANALYSIS TEMPLATE Primary factors Strengths Weaknesses
Advantages
Experience, knowledge
Unique exhibition
Geographical advantage, location
Competence, capabilities
Quality, reputation
Weaknesses
Disadvantages
Gap in experience, knowledge
Financial aspects
Reliability and trust
Loss of key or technical staff
Geographical factors O T
Opportunities
Networking with strategic alliances, partnerships
Professional development
Raising artists profile
Innovation & experimentation
Threats
Loss of funding
Dispute with terms & conditions
Price inflation/deflation
Other Galleries within locality
Major Events that may conflict with exhibition dates

21. Local Galleries Mailing List Art & Design Students
Visual Arts
Promotion & Marketing
Local Galleries Mailing List
Art & Design Students
Local & Regional Artists
Friends of Gallery
Community Centre
Mail Opening Lists √
Website
Local Press Advertising
Local Press Media Coverage
Distribution in City Centre
Friends mailing List
Posters in City Centre

22. Promotion & Marketing: Art is not Elitist-poster, invitation & website
Website splash page
Posters & invitations

23. Art & Business Investment in culture What next for the arts?
Based upon the latest research by Arts & Business
published in 2011

24. Art & Business
Research: Tina Mirmiri
Research by Arts & Business reveals that business is not hard-wired to giving to the arts, clearly its focus is on making a profit.
Due to the economic climate business partnerships has fallen year on year and its apparent that its hard to convince business to work with the arts especially with the recent recession.
Arts & Business belief is that arts and cultural bodies can engage more effectively with their audience -financially & creatively they benefit more from these relationships.
Internationally the UK’s cultural ecology is admired yet it is changing because of present economic conditions, the private sector may be the most powerful funding force for the future.

25. Arts & Business Private investment in Culture 2009/10
Private investment decreased 3% in real terms to 685 million in 2009/10
Private investment now accounts for 16% of total income for arts & cultural sector
68% of private investment is concentrated in London
72% of private investment is concentrated in major organisations
38% of the sector receives no private investment
Trusts & foundations invested million after an 11% increase that overtook business investment since 2004
45% of art fundraisers expect private investment to increase in the next financial year
Key findings
Research: Tina Mirmiri

26. Art & Business Key Findings
There will be new challenges with different solutions for cultural fundraising.
Its estimated one in six arts organisations will lose funding.
With match funding the significant danger is if one source is withdrawn another is lost.
ACE analysis (Analysis, Comparison, Evaluation) states that the worst is over with an anticipation of growth.
Art & Business Cultural Audit of UK FTSE 100 shows that only around 30% of these business have dynamic arts strategies.
Research: Tina Mirmiri
Website:

27. Practical Enterprise-Making arts accessible
The formation of art groups & organisations
Individual & group exhibitions-open art competitions
public art installations, commissions
Symposiums, workshops & lectures-questionnaires
Making art interactive with the audience-community projects,
Art & Health-clinics, hospital commissions & projects
Art publications-news media
Blogs & websites-Tumblyr, artweb, wix.com,wordpress etc.
Social media –twitter, facebook, linkedin,

28. Summary:
We have examined some of the fundamental principles behind exhibition conceptualisation & organisation.
How to raise the artists profile and initiative through the prescribed method of making presentations, writing grant & project proposals and applying for commissions.
We have also explored the fundamentals of curatorship, artist as curator including the relationship between art & business such as private investment in culture plus the implementation of practical enterprise, forming art groups and creating independent initiatives.
Finally, we have looked upon engaging and networking with external agencies and partners along with making arts practice accessible.

29. Fin
“A LAZY ARTIST NEVER CREATES A MASTERPIECE”