Lucy Day Curator

Conversation with curator Lucy Day.

http://www.dayandgluckman.co.uk/

Discussed the different contexts of showing moving image, and what duration the audience might be expected to experience. I definitely think of my work in a gallery setting, where people can come and go, and get drawn in if they wish. Getting every frame right is essential so that they have the experience I want them to.

I had looked at Jennifer's report of her conversation with Lucy, and we covered much of the same ground in questions about specific formats for showing moving image, being flexible and allowing the curator to work around some issues.

http://vantageartprojects.com/jennifermawby.com/ma_journal/wordpress/?p=4630

Also discussed showing work online and in a cinema setting. I do aim for a lot of flexibility in my work when it comes to showing contexts. If given the chance to install work myself, I have plenty of ideas and like to respond to site, but especially in moving image, work has to be adaptable and ready for different conditions and equipment. I actually like that - seeing work projected or on TV, in installation and so on. For out MA show we will have a lot of choice, so I may as well exploit that rather than turning up with just a projector.

Myriad. Lucy questioned the signing, and said signing on the front is becoming out of favour at the moment. Perhaps. I think it's a fashion, and I did think a lot about how and whether to sign at the front. I went for. I don't think there is a definitive answer to this, and while it is a consideration, I think it also depends on work - it's appropriate for an art fair. Discussed the art fair thing, and taking the positives while notching more up to experience.

Talked about exhibitions and having one major aim to achieve - whether sales, critical appraisal or gallery representation, and therefore targeting the audience and aims for that goal. Look for the right people for the next stage, and ensure they see the show.

Talked about the art objects and stills, and producing them to sell.
Suki Chan at Tin Type produced book and stills.
http://www.tintypegallery.com/artists/suki-chan/

Lucy talked about the costs of production, and I about being resourceful and being sadly used to making work without funding anyway. It's a combination of self publishing and creating an artist book - that can create a high value object.

Lucy noted that if anything galleries are having a difficult time and are dropping artists, and some are closing. Look at galleries who don't have an artist like me - it makes sense for galleries to diversify. That cycle like all will change.

For applications and competitions - check and research the judges, and appeal to them - similarities in work, etc. Work and applications may be remembered even if work not shown.

Reflection

An interesting conversation and wide ranging discussion about gallery practice and the economic climate for all but the very highest levels of the art market, where champagne still flows unabated.

16th July 2013

PS discussed the feedback in group seminar:
http://eleanormacfarlane.blogspot.co.uk/2013/07/group-seminar-reflective-practice-unit.html

Feedback from Lucy Day:

Eleanor already has some exhibiting experience under her belt and is clearly confident in her practice. We talked about ways of exhibiting her work, which she has obviously thought through. I was less sure about her recent 2d works that she made for an art fair and we talked about the issues with showing moving image and how to make other works alongside – ie stills, books etc. I sensed that Eleanor was less comfortable talking to me than some of the other students, perhaps a suspicion of curators? We talked for about 45 mins in the end as the conversation veered down some negative routes (about recent exhibiting experiences) and we both wanted it to get back onto a more positive path, which we managed to do. 

1st August 2013