making an art show Archives

Opportunity Knocks

So, you’ve got an art show coming up and you want to make sure it’s a fun and professional experience for all visitors. Maybe you’re hoping your art will make enough of an impression for some sales. Or you just want your work to be experienced to the truest degree. I’m going to walk you through the basics of getting that show ready for the public.

Making Your Selections

assorted paintings — Photo by Medhat Ayad on Pexels.com

The first thing to figure out is what you are going to be showing. Wouldn’t be much of an art show without a selection of art to display. This process can rely on what kind of art you create and how much you’ve accomplished over recent years. Perhaps you have a series of works that are meant to go together – making this process a little easier. However, you might be doing more of a retrospective or a hodge podge of work that represents things you’ve made over the last decade or more. Or maybe you have enough recent work to fill a library, so you have to whittle down your options a little bit.

First thing, know what the goal is. If a curator is asking for specific examples of work that you have, then it won’t be as free-form as putting together an array of your work. Once you know your goal, the selections become easier. If your goal is to display lots of small intimate work, then it wouldn’t make too much sense to have large bombastic pieces everywhere. What’s the feel of your show? What do you want your viewers to leave reflecting on?

If you have a wide assortment of pieces that you just can’t decide between, it’s time to exercise those creative juices and decide upon a theme. Much like an artist might do when it comes to developing an idea from thumbnails to finish, you could break out the sketchbook and start jotting down ideas or sketching out thematic options. You will have to trust your gut when it comes to the harder choices. Remember, your work will be up for the public and you want it to be a reflection of all the things you love!

Putting Together the List

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Once you have your selections, start putting it down in a list. This is going to help you wrap your head around what you’re showing. It will also give you the opportunity to title things that are not yet titled. Along with titles, you will want to put together whatever pertinent information there is for each piece, such as the dimensions, the year it was made, and the medium. If there are pieces that are on loan from any private collectors or institutions, you’ll want to indicate that by saying something like, “Courtesy of the Gallagher Family” or “Private Collection.”

This list is going to help you make sure everything has a name and set amount of information. It will build your confidence that you have what you need for the show. And it’s just a great way to compartmentalize and condense what might be an overwhelming amount of visual and mental information. Don’t put this off to the last minute because sometimes specifics can be hard to find or remember, such as dates and dimensions. This can also be a great time to start thinking about prices and placing them on the list, too.

Name it! And Write About it!

crop artist with painted spectrum in notebook — Photo by John Diez on Pexels.com

Name that show. What is going to summarize the work? This is up to you. My tendency is to keep the name simple. My most recent show was called “Discoveries.” This felt like a nice summation of the paintings I had on display and the logic behind my work. You can name it whatever you want, though, and in your own style. Perhaps you like more information or more vagaries. This is a creative element and you should own it.

Then you should write about it. Have an artist’s statement. I’ve read many a statement and there are so many that feel overwrought, overly impressive, hard to read or understand, etc. My advice would be “keep it straightforward.” Write down the most important elements. Then read through what you’ve written and rewrite it. I would aim to read and rewrite a good handful of times. You want to tighten everything up and present the ideas as clearly, yet artistically, as possible. Most artist statements I’ve seen end up being 3-4 paragraphs on one page. You want something that won’t take up everybody’s time. You may want this artist statement printed out on a number of takeaway papers or postcards, so that people can grab one and read it on the go, rather than standing in one place, reading from the wall.

Odds and Ends

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Do your works need frames? Do they need hanging wire? Do you have time to sign any of them, if they are not signed? Getting some of the missing stuff together can really help make your show feel much more professional. I recommend frames, as I think they really add to the whole experience for the viewer. Even if you go with simple framing, your paintings will benefit from that extra amount of attention and impression.

Get the hardware needed to hang. I prefer actual hanging nails that have the peg framework. These are much sturdier than just a nail in the wall. These are also known as drywall hanging nails or picture hanging nails. Using hanging wire will also help with the hanging process. The packaging usually has a nice diagram for how to attach the wire to the frame in a way that creates a nice sturdy knot.

Hanging the Work

people looking at the paintings in hallway — Photo by BERK OZDEMIR on Pexels.com

There are many ways to hang your work. The first thing you should do, though, is place your work where you want it around the space, without hanging anything yet. Having everything arranged will help you visualize how you want the work displayed, as far as sequencing goes. Which paintings will look best next to each other?

Now it is time to decide what height you want your pieces to be. I would recommend that whatever choice you make, you continue with it throughout the show, as a formula. I prefer hanging all of the paintings along an imaginary straight line through the middle of each piece. This allows for comfortable viewing angles. I like to have the middle of the pieces sitting about 5 1/2 feet off the ground. This is an average height, so it’s comfortable for most.

The way to hang this properly is fairly simple. You need to decide upon an average height for the center (such as the aforementioned 5 1/2 feet or 66 inches). Then measure from the middle of the canvas to the point at which the nail will be pulling the hanging wire taught. Find the distance there are add it to the average height. For instance, if the distance between the center of my painting and where the nail will pull the wire taught is 10 inches, I would add it to the 66 inches. I would then put the hanging nail in the wall at 76 inches. The painting would then be placed and should hang in such a way that the middle of the painting will hit that 66 inch mark. If you are not using wire, but brackets, measure vertically from the midpoint of the painting to the brackets and make that your extra distance.

Always have a level with you to ensure the painting will hang correctly and look even on the wall. Make sure that each piece has enough space between itself and the ones next to it. Stand back from the wall for this. Imagine you are a member of the public. What distance feels correct and comfortable for viewing? Are the pieces too crowded? Would I be standing right against somebody viewing a different piece?

Information!

stacks of printed leaflets with an elegant font in a studio — Photo by Mathilde Langevin on Pexels.com

Having the information next to the piece is not as hard as it may sound. There are many ways to do this. A traditional way is to print out individual information on separate thick pieces of cardboard or foamboard. This can be difficult to do without the right printer, so I suggest printing on sticker paper and then either adhering it to thicker paper or applying it straight to the wall. Find a spot near the relevant piece and place it where it feels most correct. Remember, try to stay consistent throughout the entire space and with each individual piece.

Have a blurb about yourself, either on a stand or on the wall. Have some things that people can take with them, such as postcards or business cards. You can even have a price sheet, if you are interested in selling your work. If you have a reception, you can set aside a space for selling prints or other merchandise. You will most likely want somebody other than yourself to man the sales area, as you want to be present to talk about your work and chat with guests.

Ready?

photo of woman painting while smiling and standing by the table — Photo by Andrea Piacquadio on Pexels.com

This little guide should be enough to get you going in the right direction or give you some options to think about. Remember that you may have to stay flexible and creative with how you display your show. Ultimately, you’re putting up some of your work for others to look at and enjoy. What is going to make that a memorable, interesting, or fun experience for them?

Take some time to enjoy the moment and relax. Congratulations on your art show!

Adam Kenney standing next to his paintings

My next post will be a primer on how to set up your own show. Today, it’s storytime.

Last fall I was asked by my friend, the wonderful illustrator and artist Rachell Sumpter, if I wanted to have a solo exhibit at the Nickerson Street Studios in Seattle. My mind raced. In an instant I was calculating how many finished pieces of artwork I had ready to show, what needed to be framed, who I could borrow my sold paintings from, and how many paintings I could conceivably go start-to-finish with in a four month window. Then I nodded and said, “Yes!”

Not Enough Paintings?

I could quickly imagine some of the work I would choose. I knew my stump painting (titled “Remnant”) would work and was handy, normally sitting parked on the wall of my living room. That had gone over well the previous year in a staff show at the Seattle Pacific University Art Center. It was really the first painting I felt confident about as a representation of my style and the direction I wanted to take my work. So, that one was an easy choice. One down.

I was in the midst of working on a painting of a local Shell Station, covered in snow. It was a painting that I was excited to work on and finish, mostly because the gas station is a bit of a landmark around here. I figured I could finish that one up pretty quickly.

The previous year I had done a handful of plein air paintings, none of which were hugely successful in my eyes. Those weren’t really calling to me, though they were more recent work. I could take a couple from my parents’ house (a snowy pathway, a flooded field), my in-laws’ (Haystack Rock, a grassy airstrip), and a friend’s collection (a river in Fall). That would round out the work.

painting of a field flooded in fall — “Flooded Field” 2012

I also had every intention of painting two more large-scale landscapes. I wasn’t able to finish either one, though I did get very close to completion on a beach rock formation. It was a whirlwind of work that I put into the pieces.

“Only Show Your Best Work”

My former professor, Laura Lasworth, always said, “Only show your best work.” She had been told that from a curator early in her life and passed that knowledge on to her students. I think it’s great advice, though it always made me unsure of what was worth showing. Over time, as my internal vision has solidified more, I can make better judgments about my paintings, choosing some over others.

I think developing your eye takes time and research. It can’t really be rushed, because it relies completely on growing your skills and carefully taking in the work of others. I’ve spent a good deal of time perusing great art and thoughtfully incorporating elements in my own work. I’ve also received enough feedback on my paintings to have a decent idea of what people respond to. And I look at my own work with a very critical eye, especially after completion, in order to spot overarching issues or problems that I need to address in future work. Developing a style is a slow and natural process that requires cognitive study and focus, as well as a desire to experiment and improve.

Frame Those Paintings!

I’m very fortunate to have a woodworker in the family. My dad was a cabinetmaker and carpenter for decades and has been a very reliable and generous worker who I was able to call upon for help framing my paintings. I’m telling you right now: frames are indispensable. If you have a painting on your wall and it’s not framed (maybe it’s gallery-wrapped or there is some workaround), seriously consider framing that sucker. I honestly believe it will only increase your enjoyment of the work.

My dad was working on very short notice. I was still trying to decide on the pieces I would have for the show. After talking about what pieces would be framed and the styles of frame I hoped for, he created a whole slew of beautiful frames. While there was one that I gave him specific instructions on, the others he designed himself. He made sure to ask what my thoughts were on colors, so he would end up with a frame that helped bring out the best in the paintings. I couldn’t have put together such a satisfying show without him!

Hanging Out

With the paintings ready to be hung, I headed down to the gallery space with my wife, Amber, and we began putting it all up. The first thing to figure out was how the pieces should be arranged. I wanted to make a big first impression and then let the space and art guide the viewers around in a logical way. To do this aspect, it helped to just place the paintings along the floor against the walls where I was planning to have them. The best decision I made was to allow each painting a bit of breathing room.

Once I had the paintings arranged how I wanted them, I decided on a height that I wanted the middle of each canvas to hang at. I decided on something relatively eye level – around 67 inches. The trick then, was to measure from the middle of the canvas to the point at which the hanging wire would be if it were hanging on a nail, then adding that length to 67 inches. Once I had that number, I would put a hanging nail in the wall at that height, hang the painting on it, then break out a level to make sure it sat straight. Sometimes I would want a second nail to suspend the wire on, if the painting was larger.

As I was hanging, it was becoming clearer to me which paintings would work best together and how I might need to shift the amount of paintings in any given area. I was mostly concerned with visual diversity, so the viewer would find something new to enjoy or experience as they moved from painting to painting.

“Measure twice, cut once,” my Dad, always before cutting a few more times.

Disaster Strikes!

So, with the show hung and ready for its Saturday reception, I could rest easy, knowing that all I would have to do is return with some informative stickers (title, year, medium, etc). However, Mr. Covid tapped me on the shoulder to turn around, before decking me with a right cross to the chin. And then he kicked me a few times.

The reception had to be postponed until a later date. We’re still looking forward to seeing it with friends and family. I’m going to also have prints and greeting cards available for those who enjoy the work and want a bit of it for themselves. It should end up being a fun and possibly slightly stressful time, as most receptions are!

All’s Well that Ends Well

I had a great time getting prepared for this show. Even with some of my fantastical notions about doing even more new paintings falling flat, I am happy with the paintings on display. I have already received very warm and grateful messages from those that work in the building and are happy to see some new art on their walls. It can be very easy to lose touch with how art can elevate a mood or a space when you’re standing in front of the easel, criticizing every stroke and choice. Getting those encouraging messages is a nice and well-needed dose of reality.

Tag: making an art show

Making Your Own Art Show