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OPEN EXHIBITION - August Edition Sent Friday, August 26, 2011 View as plaintext
Mailer 13b
 
 
Monthly E-Zine: Issue #18
August 2011
   OPEN EXHIBITION
Editor's Note
 
Having spent the first half of August in London enjoying the Cork Street Open Exhibition and enduring the riots, warm lazy days in the Herefordshire countryside are a welcome respite.

Richard Dorment, chief art critic for the Daily Telegraph opened the Exhibition on behalf of PAPYRUS with an amazing speech at the Private View. I was also pleased to announce a new themed exhibition that I will be organizing in January - Art Erotica (details next month).
 
Our interview this issue is with artist, Lisa Wright. Lisa was born in Kent in 1965 and lives in works in Cornwall.  During 1990-93 she attended the Royal Academy Schools, followed by post graduate studies. In 2007 she was selected for 'Art Now Cornwall' at Tate St Ives and in 2009 won first prize in The National Open Art Competition...Chichester.
 
Lisa is a regular exhibitor in the Royal Academy Summer Exhibition and is one of the selectors for this year's Discerning Eye Exhibition

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Things to Consider - Creative Budgeting is not a good thing
 
While most artist tend to prefer creative processes to the practical details of running a business, planning and budgeting for promotion of your art business is essential for success. 
 
When it comes to Open Exhibitions you need to know where you stand financially before you jump into a full schedule of submissions, and then include the costs of Open Exhibitions in your annual budget.
 
If you don't already have a system in place begin by collecting all of the receipts from your art related expenses. Don't forget the regular bills that you may pay automatically by direct debit or standing order. "Paperless" bills and statements can make it more difficult at times to remember all of your costs.
 
It may also help to go through your diary and make sure you haven't forgotten any events or exhibitions that may have had one-off costs.
 
Just as important as digging up all the expenses is keeping track of income and noting artwork that you may have sold without writing up a standard invoice.
 
The goal is to have an accurate financial picture of your business. And while there are many benefits to entering Open Exhibitions other than a financial return, it's also important to remember that the objective of any business is to make a profit, and you can't create a schedule for entering exhibitions without a way to cover the expenses.
 
Remember that there are many expenses to consider above and beyond the entry fees, which are often the least of the related costs. You will need to properly photograph your work. The work may need to be framed and mounted and there is the expense of transporting to and from the exhibition for selection and/or hanging.
 
Whether your work is chosen or not you should consider the cost of visiting the exhibition so you know whether or not you should enter again in the future. And if your work is chosen you will have the added costs or marketing the Exhibition to your mailing list and attending the Private View etc.

Strictly from a financial perspective, you may want to consider the timing of the Exhibitions in relation to your own cash flow. Managing cash flow shortfalls with credit cards can significantly increase the costs of an exhibition.


"Top Tips" from Lisa Wright
 
Do your research- decide which competitions are most appropriate for your creative practise. 

Be focused and ambitious about what you enter- (ambitious doesn't necessarily mean bigger... Scale can be a powerful thing- a small piece can be 'jewel like' in a sea of 'average' sized work) 

It is generally better to enter more than one piece as this gives the selectors more of a sense of you as a practitioner and potentially gives them a choice. 

Making work 'specifically' for a competition can over load the odds- better to select something appropriate that is already made ie. Made without the constraints of competition criteria.

Keep framing solutions simple and understated. 

It is usually a big financial investment- however it is worth entering as many competitions as possible. It gets you used to rejection, which is an inevitable part of the process. 

Positive thoughts on rejection-
You have worked toward a deadline / goal. 
You have prepared your work to exhibit ( therefore it is ready to go elsewhere if it doesn't get accepted)
You have been seen! 
Although you may not have been selected this time, your work may well be remembered the next time you apply.

Don't be put off too easily if you didn't get in the first time- criteria can change and selectors change. 

Just keep putting the work out there... You just never know who will see it!

Lisa is represented by the Beardsmore Gallery in London 
  Also This Month

Things to Consider

Top Tips by Lisa Wright

Feedback & Contact

Upcoming Deadlines

 September 3rd London
 


September 11th-12th London
 

 
September 17th Bristol
 
The Door Prize

 
September 28th - 29th Glasgow
 
Royal Glasgow Institute of the Fine Arts (RGI)

 
September 30th Bristol
 
 

 
September 30th - October 1st London
 

 
Sponsor Links 
 


 
Just 3 Weeks Left to Enter!

providing tools for your art business


Open Exhibition Directories

Exhibitions to See 

June 16th - Sept 18th London


 July 13th - August 28th London

July 18th - September 3rd Powys
 

July 20th - September 4th London
 

August 24th - September 3rd
August 24th - September 10th Birmingham
 
 

September 14th - November 2nd
 
 

Artwork by Lisa Wright 
 
 

 
Shadow of the King
Oil on Canvas by Lisa Wright
1st Place Prize Winner 2009 NOAC
© the artist
 


   Feedback & Comments
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