About – Bookings

Fitzroy Art Spaces Tour (FAST) is an education initiative for teachers and students of VCE Studio Arts. The program offers a new pathway to explore the art industry in Fitzroy.

Fitzroy Art Spaces Walking Tours complement FAST online resources, enabling students to engage with professionals behind
the scenes at four galleries.

  • Centre for Contemporary Photography (CCP)
  • Gertrude Contemporary
  • SEVENTH Gallery
  • Gallery Gabrielle Pizzi

Participants will experience different approaches to the exhibition and promotion of contemporary art. They will
be introduced to curatorial considerations involved in the display of artworks.

The program has been developed in consultation with the Victorian Curriculum and Assessment Authority (VCAA) with support from the Department of Education and Early Childhood (DEECD) through its Strategic Partnerships Program (SPP) and the Daniel and Danielle Besen Foundation.

September ’14

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October ’14

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The 2014 FAST student tours are booked out.

A FAST Professional Development day for teachers is scheduled for 28 November 2014.
Cost: $90 including lunch in Gertrude Street

To enquire about the program or register for the Teachers Professional Development day on 28 November 2014 contact education@ccp.org.au or call 9417 1549.

Download FAST PD day booking form PDF

The CCP Education Consultant will receipt the booking request and confirm the tour with payment. Any enquiries can be directed to the Education Consultant using the contact section of this website.

Fitzroy is an inner-city suburb that has been gentrified over recent decades, with manufacturing and warehouse sites transformed into studios, galleries and apartments. Brunswick, Johnston and Gertrude Streets are popular shopping strips lined with designer specialty shops, cafés, bars and restaurants.

Fitzroy offers a diverse cultural scene encompassing leading contemporary public galleries, commercial art galleries,artist-run spaces and studios. Each gallery in Fitzroy is unique and caters for its own particular audience.

Booking confirmation and payment
Once a reservation request has been submitted and received by the CCP Education Consultant, a confirmation and payment request email will be sent to confirm the booking.

Full payment must be received within 21 days prior to the tour date or at the time of booking.

The walking tour provided by FAST is $15 per student (no charge for teachers).

The Teachers Professional Development Day provided by FAST is $80 per teacher.

Cancellations
Program cancellations must be submitted in writing via email to the Education Consultant bookings@fitzroyartspacestour.org.au 

Cancellations more than 21 days prior to the tour date will incur a cancellation fee of 50%.

No refunds will be issued for cancellations less than 21 days prior to the tour date.

Rescheduling
Requests to reschedule a tour must be made at least 21 days prior to the tour date in writing via email to the Education Consultant bookings@fitzroyartspacestour.org.au 

Rescheduling a tour will incur an administration fee of $15.

Where
FAST begins at CCP, 404 George Street, Fitzroy, at 10am and end at Gallery Gabrielle Pizzi, 51 Victoria Street, Fitzroy, at approximately 3pm.

Transport
CCP is 100 metres from Smith Street (tram no. 86), 200 metres from Brunswick Street (tram nos. 11 or 112) 
and 100 metres from Johnston Street (bus nos. 200, 201, 203, 205 or 207).

For more information, visit the Vic Trip website.

The City of Yarra Council offers in-kind support through a free community bus service for regional schools.
If you are interested in accessing this service, please contact the CCP Education Consultant.

Parking
There is limited, short-term parking in the immediate vicinity of CCP.

What to wear
This is a walking tour so wear comfortable shoes and clothing suitable for staying outdoors for an extended period 
of time.

What to bring
Please bring an umbrella, lunch, water bottle, pen and paper for taking notes, a camera to take pictures 
(please note: no flash allowed in the galleries).

Food and drink
Participating teachers and students are required to bring lunch and a water bottle. There will be one supervised lunch break, in the park adjacent to the Fitzroy Town Hall, with a sheltered venue available in case of rain. There will not be enough time to visit cafés.

 

For further enquiries about FAST walking tours, contact CCP Education Consultant Melissa Bedford.

Email: bookings@fitzroyartspacestour.org.au
Phone: 03 9417 1549

 
Galleries
  • Installation view: Wall of Seahorsel, CCP, 2012.

  • Installation view: Autumn Masterpieces: Highlights From the Permanent Collection, CCP, 2010.

  • Exterior View: Centre for Contemporary Photography.

CCP is a public gallery that was established by the photographic community in 1986. Exhibitions feature photography and video from emerging to established artists. The program includes individual, group and curated exhibitions, featuring photomedia by local, interstate and international artists. CCP has five exhibition spaces: four internal galleries and the Night Projection Window, viewed from the street after dark.

 

404 George Street, Fitzroy VIC 3065
T 03 9417 1549

www.ccp.org.au

CCP – A Public Gallery

The Centre for Contemporary Photography (CCP) is a publically funded organisation that presents a regular and varied program of exhibitions to the general public.

As a not-for-profit organisation, CCP is eligible to receive a portion of its funding from government. However, it needs to generate revenue through other avenues such as ticketed public and education programs, fundraising, bookshop sales, philanthropy, sponsorship and partnerships with the private sector, and sometimes through artwork sales. Any profits generated by not-for-profit galleries are reinvested into their future programs.

Artists who exhibit at not-for-profit public galleries do so in two main ways; by invitation and application. Public galleries endeavour to pay artists a minimal ‘artist’s loan fee’.

CCP pays between $500 and $1400 to each exhibiting artist depending on the scale of the exhibition space. Public galleries also commission artists from time to time to make new work and need to secure a commission fee for the artist. For more information about fee structures, visit the National Association of Visual Arts (NAVA) website.

A third way for an artist to exhibit at CCP is through the open-entry exhibition known as Kodak Salon. This popular annual exhibition offers a unique opportunity for hundreds of members of the photographic community to show their work. 

For more information about public galleries, visit the Public Galleries Association of Victoria (PGAV) website. You can also visit Victoria’s largest public art gallery, the National Gallery of Victoria (NGV).

Naomi Cass
CCP Director

Describe the nature of your organisation as a not-for-profit enterprise. How does it continue to operate successfully?

CCP is a not-for-profit membership organisation. The principal funding (45%) is received from agencies, the Australia Council of the Federal Government and Arts Victoria.

Other critical income is generated through user-pay services, sponsorship and fundraising. Government funding does not cover the costs of renting our gallery and paying our staff, so we must be resourceful and work hard at generating income to maintain our exhibitions and public programs.

Briefly describe the type of exhibitions that CCP presents. 

CCP’s mission is to exhibit photomedia, and we interpret this is the widest possible way, to include all lens-based work, still and moving image and three-dimensional work. We exhibit the broadest possible interpretations of photography.

Because photography is popular and ever present in advertising and social media, we are interested in unusual, thoughtful approaches to photomedia, which challenge the way we think about the medium, the technology, the history of photography or the world more broadly.

CCP presents exhibitions in our space in Fitzroy, as well as off-site tours and exhibitions, such as at the Melbourne Art Fair and the CCP/City of Yarra Billboard at the corner of Smith and Otter streets, Collingwood.

CCP exhibitions range from traditional analogue photography to digital photography, camera-less photography such as photograms, through to animation and video.

The work exhibited can be exciting and challenging for its content or medium. The artworks may be roughly pinned to the walls or magnificently printed and framed -- all are valid experiences for artists and audiences.

CCP also presents award exhibitions to which members of the public can submit work, such as the CCP Documentary Photography Award, and the open-entry exhibition and award Kodak Salon.

What are the main ways in which artists are selected to exhibit within your gallery?

There are a number of ways in which an artist can show at CCP. Principally, artists submit a proposal in May for exhibition in the following year. All proposals are considered by the CCP Exhibition Advisory Committee, comprising of the CCP Director, curators, other staff and external experts. On occasion, CCP approaches an artist and invites them to present a major solo exhibition or participate in a curated exhibition.

Most CCP exhibitions are solo exhibitions in one of our five galleries, drawing from work in the artist’s collection. These exhibitions enable visitors to gather an intimate idea of an artist’s current work, without telling the whole story of their development. 

Every two years we curate an in-depth exhibition revealing a longer look at the artist’s development over time, showing work from over 20 years (for example) and borrowing work from collections. These are large exhibitions that fill the entire gallery.

A curated exhibition is where a curator selects either an individual artist or, more often, a range of artists and brings the work together under one title, a particular idea, or theme.

Curated exhibitions can be proposed to CCP by artists or curators, and are assessed on an annual basis, like solo exhibitions. CCP also curates exhibitions. In this case, the curator will go out and seek work from selected artists.

What does your gallery do to promote exhibitions and develop new audiences?

CCP uses many approaches, including email invitations to over 8,000 subscribers, and social media channels including our 5,500 Facebook fans. In 2011 we registered over 118,000 visits to our website.

CCP also uses email invitations, with an ‘open’ rate that is more than twice the industry average. OurOur social media channels remains a highly effective form of communication, requiring relatively few resources.

Another effective way of cross-promoting CCP is by participating, through on or off-site exhibitions, at festivals such as the L’Oreal Melbourne Fashion Festival, Melbourne Festival, Melbourne Art Fair, Midsumma and Next Wave Festival.

Editorial is one of the most time-honoured ways of getting our message out. By this, I mean reviews, articles, interviews and listings in newspapers and magazines. CCP is relatively effective in gaining media attention. 

Who are the key staff working within your organisation and what are their roles? 

Director
General Manager
Front-of-House Manager
Managing Curator
Associate Curator
Design and Communications Coordinator
Education Consultant
Book-keeper
Weekend staff

 

How did you become the Director of CCP? Briefly describe your career path up to this point.

I have been the Director of CCP for seven years and have been working in the arts since graduating with a Fine Arts, and History and Philosophy of Science degree (from The University of Melbourne). My previous position was as chief executive officer of the National Exhibitions Touring Support (NETS) Victoria. Prior to this, I worked as a curator and as an arts writer over many years.

When working in small organisations one gets used to working in many different roles, from challenging, interesting activities such as developing an exhibition or a policy for CCP, through to taking out the bins and serving drinks!

Having a university or art school degree is useful, but having on-the-ground experience is also important. Many people start their careers juggling study with voluntary work in the sector, and then casual experience in an art museum or gallery. Museum/gallery professionals require an unusual breadth of practical, theoretical, curatorial, promotional, financial and interpersonal skills.

What is the most rewarding aspect of your professional role? 

There are many rewarding aspects of my work. I enjoy being an advocate for contemporary art, highlighting the importance and value of the artists and their work in contemporary life and society. Working with artists and writers is exciting and often challenging. Being open and sensitive to their needs and desires, understanding their work and communicating this effectively is critical, as is providing a stimulating and sympathetic context for exhibiting work.

As Director, I am less engaged on a day-to-day basis with artists, unless I am curating an exhibition or project. Overall, I would say that ensuring that this small and highly effective organisation is flourishing, ambitious and stable is my overriding objective and accomplishment.

My favourite time to visit CCP is on a Saturday after openings, when artists join staff and visitors for a really informal walk through the gallery, discussing their work and taking questions.

How do you see your organisation’s contribution to the visual arts sector within the local context of Fitzroy and Australia? What about its global reach?

CCP has been located in Fitzroy for most of its 26 years. The gallery plays an important role in the ecology of the arts in Australia but is most active on the local and national context, and at the entry and mid-career level. Globally CCP will exhibit nine international artists from 2011 to 2012.

We present solo exhibitions by artists in the first few years of their practice and provide an opportunity for artists to gain professional experience in these early stages of their career. We provide an opportunity for more established artists to take a risk with a new direction. Sometimes, artists better known for non-photographic practice present their photography at CCP.

There are countless opportunities at CCP for writers, educators and critics to reach broader audiences though lectures, talks, seminars and publishing.

Most of the work we exhibit is new or recently made, for example, we don’t often borrow work from collectors to exhibit. However, every two years we present an in-depth survey of a mid-career photographic artist, drawing across say, 20 years of practice. These exhibitions also tour across the country to regional galleries.

CCP is a media-specific gallery, devoted to photography and video, or indeed any work that is lens based, or related to photomedia. Being a media-specific gallery is unusual in 2012, with few other media specific public galleries in Melbourne, with the exception of Australian Centre for the Moving Image (ACMI) and Monash Gallery of Art (MGA) and Craft Victoria. 

When CCP started 26 years ago, it was the only public gallery and one of only a few commercial galleries dedicated to photography. It was difficult then to get an idea of what was happening in the world of art photography. Whereas now, not only is photography ever present in public and commercial galleries, commercial photography is all over the streets on billboards, hand-held devices and the internet. Photography is everywhere!

CCP is a place where photography and video can be experienced outside of a commercial context: the work we exhibit is not motivated by commercial needs. Through our spaces, we provide a special context for engaging with how photography is being used, being spoken and written about by artists and writers. Our exhibitions can be experimental and challenging.

CCP is also a place where the public can get involved. We run workshops, talks and the public can exhibit their work in the Salon – this is the largest national open-entry award (online applications open from July each year).

Here are a few facts and figures about CCP for 2011: 349 artists exhibited with CCP; 27 exhibitions were created and presented; 391 people were paid CCP Members; 2,180 volunteer hours were donated; 22 practical photography workshops were presented, as were two community youth arts projects and related exhibitions; 27 free artist talks; four free illustrated lectures; 11 exhibition catalogues were produced and 27 education talks and seminars were presented to school groups.

Who visits your gallery regularly? Is there a particular audience/clientele?

In 2011, the total attendance for CCP, including touring exhibitions, events and off-site projects, was 287,500 visitors. Our research reveals that the majority of these visitors were female, aged between 26 and 35 years old, working full time, well educated, and living in the inner city. Practicing and student artists were also a significant group in the survey.

Does your organisation have a volunteer or internship program? If so, could you explain the value of this program?

CCP would not function effectively without the help of our volunteers. Volunteers undertake critical, regular activities including: sitting at the front desk and taking visitor enquiries; collating and documenting media; establishing and managing award exhibitions; collating exhibition proposals; invigilating (sitting in the gallery if there is particularly fragile work); assisting curators in developing and managing exhibitions; assisting artists to install and de-install their exhibitions; painting the gallery walls; managing the bar at openings; and undertaking visitor surveys.

CCP’s Board of Directors consists of expert volunteers including business, academic, law and arts professionals who donate their time and expertise.

What do you see as the main challenges for your organisation at this point in time?

This is really simple to answer: to secure funds to enable CCP to be an effective and sustainable organisation creating programs for artists of local, national and international significance and, further, to secure long term and sustainable housing.

What have you observed to be the greatest changes/trends in the broader visual arts sector over recent years?

If I restrict my comments to photomedia, the rise of citizen journalism and image sharing technologies have greatly expanded the field. There are more people making art, those that identify as artists are often highly educated coming through the tertiary system, or they might simply commence exhibiting independently without formal education – all are valid positions. When presenting their work to public galleries, artists may have already been exhibiting for a few years in the thriving artist-run initiatives aspect of the sector. Opportunities for commissioning documentary and reportage photography have diminished as the print media (newspapers and magazines) contracts due to loss of advertising revenue, thus presenting new challenges to photographers who, in response, seek exhibitions in public galleries and become more active in creating an online presence for their work.

How has your organisation adapted to these changes?

CCP programming has always been responsive to the sector, in both our annual call for proposals and our curated exhibitions.

What do you hope for the future of the visual arts sector and your organisation?

I hope there is further support of artists to make work, for curators and writers to flourish and for there to be sustainable opportunities for artists to exhibit their work, to reach audiences and to engage with the community. I hope that there are opportunities for emerging and established curators to create exhibitions that interpret contemporary practice and expand the way artists and audiences engage through exhibitions, talks and publishing. I hope there will be more opportunities for artists to travel, to exhibit at CCP and abroad, and for there to be more available funding to create illustrated catalogues and pay writers to write about CCP artists.

 

Interviewed by Melissa Bedford, June 2012

Alexi Glass
Gertrude Contemporary Director

Describe the nature of your organisation as a not-for-profit enterprise. How does it continue to operate successfully?

Gertrude Contemporary is an independent, not-for-profit, government funded organisation. The organisation is made financially viable through a mixture of State (Arts Victoria) and Federal (Australia Council) funding, as well as self-generating income through patronage (‘Gertrude’s Table’), philanthropy, grants and strategic partnerships.

Briefly describe the type of exhibitions that Gertrude Contemporary presents.

Exhibitions are presented within Gertrude Contemporary’s gallery spaces and through off-site exchange exhibitions and touring programs. On-site we have eight exhibition slots per year over three gallery spaces.

Octopus is a key feature in our program as it offers a leading curator the opportunity to experiment with their art form and explore new curatorial methodologies. The Studio Artists exhibition is our annual studio artist showcase.

At Gertrude we balance the program with a mixture of curated solo and group exhibitions. Our exhibitions are not restricted by material specifications and we support early career artists. New ideas emerge at all stages of an artist’s career and the exhibition program therefore works inter-generationally.

What are the main ways in which artists are selected to exhibit within your gallery?

The exhibition program is curated in-house. Solo and curated group exhibitions are generally formed from studio visits by Gertrude Contemporary staff throughout the year. These visits contribute to organisational knowledge of the local and international landscape for contemporary arts practice.

Our annual exhibition program comprises one or two open-applications for solo and group exhibitions, with a focus on site-specific projects, in-house-curated projects, and exhibitions produced in partnership with festivals such as the Next Wave Festival, Melbourne Art Fair and the Melbourne Festival.

Exhibitions proposed in the open call are selected by a panel of internal and external curators and artists.

Gertrude Contemporary also produces one to two cultural exchange projects each year where we partner with an aligned organisation (generally located in the Asia-pacific region) to collaborate on a two-part exhibition and residency project—one of which features in the Gertrude Contemporary exhibition calendar.

What does your gallery do to promote exhibitions and develop new audiences?

Gertrude Contemporary offers diverse products and services to many people. Our broad-based appeal is a unique strength and our role as a ‘connector’ is common to our services.

Gertrude Contemporary emails gallery opening invitations and public program notices to over 2,000 people, and visitors can join the list online or in person at the gallery. As a key communication tool, our website offers access to the full scope of our programs and activities, and our web presence and visual identity are matched to our goals and position.

Who are the key staff working within your organisation and what are their roles?

Alexie Glass, Director and Senior Curator
Jacqueline Doughty, Deputy Director and Program Curator
Pip Wallis, Assistant Curator – Communications Manager
Emily Cormack, Curator – Publications 
Shae Nagorcka, Gallery Manager

How did you become the Director of the Gertrude Contemporary? Briefly describe your career path up to this point. 

I am a curator of contemporary art with a background in arts writing, media and criticism. I studied art history at the University of New South Wales. My previous professional roles include art critic, educator, and curator, and I am co-curator of Parallel Collisions, the 12th Adelaide Biennial of Australian Art 2012. In 2005, when I was appointed the director and senior curator at Gertrude Contemporary I was living in Seoul, where I was curator-in-residence at a respected independent art centre. I have also curated exhibitions in Malaysia, Singapore, China and South Korea.

What is the most rewarding aspect of your professional role? 

As a curator of contemporary art, I am placed in an ideal position to explore how ideas can evolve in a gallery context and then change again after being introduced to audiences. Whether I am working on a biennial, collaborating on a project in Asia, or undertaking a studio visit with an emerging artist, I am always aware that these opportunities are unique and I am open to the new ways of seeing that my role encourages. Being part of the team that is overseeing Gertrude Contemporary at this time in its history is a great privilege, and regardless of how many funding acquittals or qualitative data surveys we complete (yes, it’s not all creative!), I get much more from this role than I ever imagined. It is an honour to be a custodian of this organisation with its talented alumni and great history.

How do you see your organisation’s contribution to the visual arts sector within the local context of Fitzroy and Australia? What about its global reach?

Gertrude Contemporary has supported the careers of some of Australia’s key thinkers, makers and writers, and is Australia’s first and most influential combined gallery and studio complex. Established in 1983 in a large converted warehouse, the organisation has since expanded and transformed significantly. We have often reflected on our original benchmark, New York’s MOMA PS1.

We remain respectful to the vision of our founders to create an important site for the display and development of contemporary art. We continue to position ourselves at the nexus between the production of contemporary art through our studio programs, and its presentation through our exhibitions, publications and public programs. 

Our Studio Program consists of two-year tenures for 16 non-residential studios, available to artists in the first 15 years of their professional practice. International activities include reciprocal collaborations with colleague organisations, and partnerships involving exhibitions, exchange-residencies and publications. We also manage mentorship, residency, volunteer, internship, education and patron programs, and the annual Gertrude Editions limited-edition series of artworks.

Since 1985 we have accumulated a vast alumni of past exhibiting and studio artists. Every artist who has represented Australia at the Venice Biennale since 1999 has either held a studio or participated in an exhibition at Gertrude Contemporary. 

Who visits your gallery regularly? Is there a particular audience/clientele?

Our monthly openings are lively and rambunctious events. Over 30,000 people visit the gallery, off-site projects and touring exhibitions each year, and our programs attract a culturally diverse audience predominately from the 18-40 age bracket.

Gertrude Contemporary’s core markets are people who want a trusted product with a solid history of quality and people who are also open-minded and curious.

We have four core current markets: local, national and international artists and cultural producers; professionals, gallery dealers and patrons; educators and students; and local community.

Our extended stakeholder community includes principal funding bodies; sponsors and partners; colleague organisations and art workers both in Australia and internationally and, most importantly, the artists and writers who participate in our programs.

Does your organisation have a volunteer or internship program? If so, could you explain the value of this program? 

Since entry-level positions in galleries tend to be administrative positions, the main value of volunteering is to gain an insight into, and experience with, the various systems that the organisation has in place. Interns often assist on more dedicated or specific projects.

We have up to 25 volunteers and interns who assist with day-to-day operations of the gallery, offering us key access to younger arts audiences. Work experience as a Gertrude volunteer offers entry to a career in curatorial services and art administration. Volunteers and interns are generally university students wishing to gain experience in advance of their first paid position in the industry. 

What do you see as the main challenges for your organisation at this point in time?

Housing is a major challenge facing the organisation. The gentrification of Fitzroy and the accompanying rise in property values threatens our forward planning as we manage the financial impact of rent rises. As we sometimes remind ourselves, creative people don’t just break ground for new ideas, but also for property developers! Meeting fundraising targets and the challenge of spiraling costs for core operations are also significant issues. 

What have you observed to be the greatest changes/trends in the broader visual arts sector over recent years?

The artistic context we operate in has changed significantly over the past decade. Artists emerge from the tertiary education system with a sophisticated understanding of career-building, and many artist-run initiatives provide a number of exhibition opportunities for emerging artists. In response, our program has expanded its focus and become increasingly curatorially driven and ambitious. We provide a place for artists at all stages of their careers to take risks and present ground-breaking work and, through our increased emphasis on national and international projects, we work to assist artists to build opportunities and networks beyond their local artistic community.

How has your organisation adapted to these changes?


We have dramatically expanded our program from a joint studio and gallery-based exhibition program by including innovative cultural exchange, touring and professional development programs, and education, publication and public programs which acknowledge the increasingly multidisciplinary nature of art practice and take advantage of new technologies and media. To match this increasingly ambitious program, we have launched a number of highly successful fundraising programs, creating major new sources of income for the organisation.

What do you hope for the future of the visual arts sector and your organisation?

We will continue to capitalise on the unique structure of our program, with its ability to nurture the production, presentation and critical examination of contemporary art practices. We will continue to respond to the changing needs of our studio artists, striving to create mentorship, professional development and networking opportunities to assist them in furthering their ideas and their careers.

We will continue to present exhibitions that exemplify our key principles of risk, collaboration and critical thinking, building Gertrude Contemporary’s growing reputation as a home for new ideas and art practices with an international perspective. Finally, we will continue to build national and international networks for our organisation and for Australian artists through strategic and reciprocal partnerships and a strong touring program. 

Gertrude recently went through a major process of rebranding. Could you discuss the nature of the design process and its benefits to the gallery?

A key objective in 2010 was to re-brand the or­ganisation, re-launch our website and renovate our communications. We wanted an identity that reflected our unique history and place in the Australian art landscape, bringing to the fore our reputation as a generator for art that embraces risk, experimenta­tion and creative thinking.

A critical component in achieving this outcome was our partnership with Fabio Ongarato Design (FOD) – one of Australia’s top three graphic design firms. Both Gertrude Contemporary and FOD are small, dynamic and innovative. Both share a commitment to quality, cutting-edge art and design and we both found ourselves forging ahead, brimming with ideas and ready to reach out to new audiences in bold and striking ways.

To achieve these goals, our two organisations have worked together to create six world class publications, a new visual identity and a phenomenal new website. Over a five-year partnership, FOD have won six major awards for their work with Gertrude Contemporary, and Gertrude Contempo­rary have increased their international exposure significantly.

In addition, the new website serves as a collection of artist web pages where we feature images and information on almost all of the 250+ artists who have had held studios at Gertrude Contemporary since 1983. This is an incredible resource for the artists, as well as for researchers, curators, students and the general arts com­munity. 

Interviewed by Melissa Bedford, June 2012

 
Resources

These resources have been developed to offer VCE Studio Arts students and their teachers real-life insights into the ways art industry professionals collaborate with contemporary artists at CCP to prepare for and present exhibitions.

An aspiring artist who intends to exhibit their work publicly will engage with the art industry at various stages as their career evolves.

Every exhibition of a living artist’s work is the result of a considered process undertaken by artists and art industry professionals who work with them to bring their artwork into the public sphere.

  • Installation view: Parklife, CCP, 2010.

  • Installation view: Anonymity, CCP, 2011.

  • Installation view: Black White & Grey. Photographic Studies (Photosheets), CCP, 2012.

  • Installation view: CCP Colour Factory Award, CCP, 2009.

  • Installation view: Autumn Masterpieces: Highlights From the Permanent Collection, CCP, 2010.

  • Installation view: Kodak Salon, CCP, 2010.

  • Installation view: The Mourners, CCP, 2011.

  • Installation view: The Mourners, CCP, 2011.

  • Installation view: Lost and Found, CCP, 2012.

  • Installation view: True Self: David Rosetzky Selected Works, CCP, 2011.

  • Architect's drawings

Many variables influence the design of an exhibition such as the rationale of the work; the scale of the gallery space; the budget; time available to install the exhibition; safety and security issues and the audience.

Exhibitions presented at CCP are varied and can include visual and/or sound installations, two and/or three dimensional artwork, time-based artworks, work drawn, painted or projected onto walls, and performance.

The placement of artworks can have an impact on the way audiences view them. A carefully considered arrangement of artworks encourages the viewer to make conceptual leaps between works of art and to create a sense of visual prominence for key works.

The process of transforming bare white walls into an exhibition environment prompts a thorough consideration of the potential relationships between individual pieces.

Devices such as the colour of the walls, style of lighting and methods for hanging artworks all contribute to the appearance and mood of an exhibition.

Some exhibitions are actually devised by artists as a series of components that are then transported and assembled for the first time on site at the gallery.

Exhibiting artists and/or curators are responsible for the overall design and layout of exhibitions at CCP. In this role they act as mediators between the artworks and the viewer.

Display of Artwork, Case Study 1

Lost and Found: Family Photos Swept Away by the 3.11 East Japan Tsunami (2012)

Presented as a visual sea of images each picture is displayed in close proximity to the next. The images are the collected remnants of family photographs recovered from the devastation following the tsunami in Japan in 2011. While visually effective, this exhibition is highly unusual for CCP as it is not the work of contemporary photographic artists. By presenting these damaged family photographs together in this way, the viewer is given an opportunity to reflect upon the scale of the disaster and the profound impact of this event on families in Japan. Due to the fragile nature of these photographs and their memorial significance, each photograph was placed in a clear Mylar sleeve and archival Blu Tack used to attach them to the gallery wall.

Display of Artwork, Case study 2

John Nixon, Black White and Grey. Photographic Studies (Photosheets) (2012)

For this exhibition John Nixon used cream-coloured foolscap manila folders as a framing device for his photographs. By using business stationery, traditionally used for filing documents, as a format to organise and present the artwork, Nixon emphasises the manual ‘cut and paste’ method he used to lay out and group his images. Pinning folders to the gallery wall was a very efficient way for the artist to install and de-install the exhibition.

Display of Artwork, Case Study 3

Poklong Anading, Anonymity (2011)

This work consisted of 12 cardboard light-boxes, each containing a single portrait, stacked together and installed in a corner of the gallery. For this series, individuals posed holding a circular mirror in front of their faces, reflecting the blinding glare of the sun directly into the camera lens. The heads of these subjects disappear in reflected light so that their clothes and the objects that surround them become the only signs of their identity. The light-boxes emphasised the extraordinary play of light within the images. They were complex to install due to the numerous electrical connections that needed to be hidden from view.

For more exhibition examples, visit the CCP website.

Display of Artwork, Case Study 4

True Self: David Rosetzky Selected Works
(2013) 

Architect Simon Whibley was invited to solve a particular problem faced by CCP and many galleries in exhibiting multiple video works that include sound, for display in one sonic (sound) space. Sound bleed is one of the hurdles in presenting multiple video works. A further challenge for the architect was to solve this in a manner consistent with the artist's highly refined aesthetic. The architect was also constrained by time and budget. 

Simon Whibley's specific commission was to create a series of small spatial environments, namely exhibition furniture,  that could house video works and seating for viewers to watch time based works. The design brief encompassed practical aspects, such as concealing technology and framing different screen ratios of video artworks, but also aesthetic considerations around creating a unified viewing space that could assist and enhance people’s engagement with the artworks. Another facet of the project involved finding the best way to support the presentation of the artworks across a range of diverse touring venues across regional Australia, because each venue will present completely different viewing conditions.

The project required great sensitivity in order to avoid inserting an architectural dialogue into Rosetzky’s exhibition. Rosetzky’s artwork Think of Yourself as Plural was the starting point for developing the design concepts. Colours and fabrics in this work provided a basis for the colour palette and junctions between the various textures and materials- plywood, paint  and linoleum. Rosetzky’s composition of everyday objects also became a source of inspiration for the architect. For example, the seating is based on camping seats- a re-design and re-purposing of something well known rather than the invention of something new.

Another aspect of the exhibition design involved considering how each of the exhibition elements could be easily assembled, disassembled, packed and freighted to different locations. The architect collaborated closely with the organisation National Exhibitions Touring Support  (NETS), CCP curators, the fabricator and the CCP installation crew to work out how each component fitted together and how they could be tough enough to withstand two years of moving around Australia.

  • Handling artwork during the installation of Kodak Salon, CCP, 2011.

  • Handling artwork during the installation of Kodak Salon, CCP, 2011.

  • Handling artwork during the installation of Kodak Salon, CCP, 2011.

  • Kodak Salon entries stored on padded chochs waiting to be installed, CCP, 2011.

  • Installation view: Inland, CCP, 2009. Artworks are pinned directly to the gallery wall.

  • Installation view: CCP Documentary Photography Award, CCP, 2011. Artworks are framed in the traditional manner.

  • Installation view: This Weather, CCP, 2011. Artworks are pinned directly to the wall.

  • Installation view: La Toilette D'Une Femme, CCP, 2011. Photographic prints are mounted on diabond.

  • Installation view: Event Horizon, CCP, 2010. Artworks are pinned directly to the gallery wall.

Art handling

All materials used by artists contain a level of ‘inherent vice’. This inbuilt tendency towards decomposition means individual artworks must be cared for and handled in particular ways. In general, conservation and preservation of artwork encompasses two main considerations:

Materials  – A specialist knowledge of the particular materials in an artwork and a concern for the decay of these types of materials over time.

Ethics – An acknowledgement and respect for the integrity of the artwork, and keeping true to the artist’s intentions for the display of that artwork.

As contemporary art can involve experimental materials that are fragile or ephemeral, curators need to be able to select and apply a range of different measures when they are storing and handling, presenting, and lighting artworks for an exhibition.

Ironically the most effective way to maintain the life of an artwork is to minimise its handling, and store it in the dark, under optimum environmental conditions. However, a balance is naturally required between conservation and public access.

Environmental hazards

Major public galleries such as the NGV employ museum-standard environmental conditions, storage and handling procedures to prevent and reduce damage, and to restore, their collection.

Some key environmental principles are:

Temperature and humidity – A climate control system regulates the temperature and moisture levels in the air, reducing the expansion and contraction of materials within artworks over time. An ideal temperature range for storing artworks is between 18 and 22 degrees Celsius.

Lighting levels – Exposure to strong light will deteriorate most artworks. The level of light used for works on paper is usually 50-150 Lux, with 200 Lux for oil paintings.

Storage – When artworks are not on display they are held in storage, generally according to museum standards. For instance, works on paper are stored flat, between archival grade tissue paper, in pH neutral, light-, dust- and pest-proof solander boxes.

Invigilation – Museums employ guards or invigilators to monitor visitors and to ensure that they do not touch works of art. Touching can transfer invisible oils onto the artwork and can cause chemical damage. Often valuable artworks are displayed behind glass for protection.

Handling – Gallery staff who handle artworks wear white gloves and handle each individual artwork with a great deal of care.

Remedial conservation and restoration work – Highly trained specialist conservators can treat an artwork if it is damaged or is deteriorating significantly. Cleaning is the most common treatment.

Digital art

A challenging and relatively new area of conservation and storage concerns the highly popular time-based art form – video. Video presents challenges as technology changes rapidly and original equipment can often not be maintained in working order over time.

Institutions all over the world are looking at solutions for this vexing issue, often preferring to migrate work to digital formats. Museums are working in consultation with living artists to ensure that their intentions are understood well into the future. For example, some artists might prefer their work to become obsolete.

For more information on conservation and preservation, visit a discussion paper on the Tate Museum’s website.

 CCP: Photography Conservation in Practice 

 

The CCP only maintains a temporary (as opposed to permanent) collection and cares for artworks for the period of time that they are being handled and are on display.

At the CCP, artwork is exhibited for around eight weeks. The CCP does not have a space to store artwork on-site prior to or after exhibition, and short exhibitions do not need museum-standard climate controls.

Artwork conservation at the CCP begins with a preliminary discussion between the curator and the exhibiting artist about the nature of the artwork and their ideas on presenting the artwork. 

Curators offer advice to the artist, but do not advocate traditional conservation practices unless they align with the artist’s intention. Unlike museums in the contemporary art world, communicating the meaning of the work for the time it is on display is more important than the longevity of the work. 

Mounting

The museum standard for presenting photography is to mount the print on acid-free board and then frame it behind glass.

Pinning

It is important to understand that how an artist displays their work is part of the meaning of the work. Pinning work directly to the wall is often preferred for aesthetic reasons, as it emphasises the ‘object-ness’ of the photograph—the viewer can appreciate the paper stock and its weight, providing a more direct experience.

Contemporary artists exhibiting at the CCP regularly opt to pin their artworks directly to the gallery wall. This simple technique puts a small hole into the corners of the print and can result in the print warping and buckling over time. This can be minimised when the corners are reinforced underneath.

Diabond

A popular method for mounting large prints is to bond them to an aluminium composite material known as diabond. This commercial process ensures artwork remains flat while on display, but is not good for conservation as it produces a non-reversible bond to a relatively unstable compound.

Other Methods

Occasionally unorthodox materials are used to attach artwork to the gallery walls. In the case of the exhibition Lost and Found an archival Blu Tack and clear Mylar sleeves were used.

The CCP approach

All artworks at the CCP are handled using museum standards, including use of white gloves at all times when moving artworks and following artists’ and curators’ instructions about lifting and installing individual pieces. Artworks borrowed from other galleries arrive and leave with a detailed condition report prepared by the curator.

When moving an un-framed or un-mounted print, it is preferable to roll the work and carry the roll underneath with gloved hands, or in a tube. If the work is large and unrolled, two people must lift it from two alternate corners, on the diagonal.

If a print bends or cockles (wrinkles), this cannot be reversed or repaired. For this reason, many photographic artists have an ‘exhibition set’ of prints, separate to the ‘edition set’, which can be replaced when damaged.

Prints that have travelled (rolled) in a tube must be ‘relaxed’ before being installed; this can be done by placing the artwork on a clean, flat surface to unroll naturally, or by having small, soft weights placed on each corner to encourage flatness.

Occasionally a print will be pinned to the wall at the two top corners and left overnight to unfurl before being pinned at the bottom.

For more information about artwork preservation and conservation, visit Conservation OnLine 

  • Installation view: Australia Days, CCP, 2011.

  • Opening night: Black White & Grey. Photographic Studies (Photosheets), CCP, 2012.

  • Installation view: Installed in the Midst of the Visible, CCP, 2011.

  • Installation view: Without Words, CCP, 2011.

  • Installation view: Autumn Masterpieces, CCP, 2010.

Introduction

Developing an art exhibition involves a series of considered selections by artists and gallery staff. This process begins when the artist prepares an exhibition proposal or comes to the attention of an art industry professional such as a curator.

Selection

 

Contemporary art spaces achieve a critical role in the ‘ecology’ of the visual arts, through creating an opportunity for the presentation of new, challenging or experimental ideas.

Selecting which artists will exhibit at a contemporary art gallery such as CCP is an intensive process. It often requires consideration to the formation and selection of ideas that artists and curators believe will make a lasting contribution to Australian culture.

At CCP, an advisory panel of up to eight experts discusses, argues and selects what the gallery will exhibit. The advisory panel aims to choose artists who will make a lasting impression on audiences as well as making a tangible contribution to the area of contemporary photomedia.

Process

Once selected, an artist will usually visit the gallery to measure the space/s they have been assigned. They then prepare their artwork with the architecture of the gallery space in mind.

Artists and curators consider the space as a total environment, integral to the meaning and effectiveness of the exhibition.

Artists may therefore alter the existing architecture of the gallery. For instance they may cut a hole in the floor or wall, install carpet or paint the walls.

Exhibition Program

Each year CCP staff crafts a final exhibition program based on the selected exhibitions. Below is a list of past exhibition types:

Curated exhibitions such as Kyla McFarlane’s Without Words (2011) , Mark Feary’s Event Horizon (2010) and Naomi Cass's In camera and in public (2011). These are initiated and developed by the CCP curators to explore particular themes or ideas. Curators determine the artworks they would like to group together and negotiate with artists, owners and commercial galleries to borrow the works. They work within a budget to design the exhibition and possibly alter the gallery space to present the artworks. They usually write a catalogue essay about the central ideas within the exhibition.

Proposal exhibitions such as Sharon Billinge’s Installed in the Midst of the Visible and Sarah Ryan’s The Fourth Dimension (both 2011). These exhibitions arise from a successful proposal to the gallery. Artists are responsible for installing and de-installing the exhibition. If an artist paints or alters the environment for their exhibition, they are required to undertake restoration afterwards.

Solo exhibitions such as Georgia Metaxas’s The Mourners (2011) and John Nixon’s Black White and Grey: Photographic Studies (Photosheets) (2012). These exhibitions are presented by a single artist.

Group exhibitions such as Photocopier (2010) are exhibitions presented by several artists who wish to share the gallery environment and collaborate on an exhibition.

Award exhibitions such as the CCP Documentary Photography Award. Photographers submit their work for inclusion in the exhibition and are selected by eminent judges from the photographic and arts community. The judges also select an overall winner.

Touring exhibitions such as Taryn Simon’s An American Index of the Hidden and Unfamiliar (2010). These exhibitions travel to and from other Australian and international galleries.

Community engagement exhibitions such as Kodak Salon. This annual event at the CCP is sponsored by Kodak. It offers the professional photographic community, students and enthusiasts the opportunity to exhibit their work at CCP. There are usually around 400 photographs on display during this popular exhibition.

Fundraising exhibitions such as Limited Edition Print (LEP). Each year an established and highly regarded photographic artist such as Bill Henson or Patricia Piccinini generously offers to donate ten copies of one of their artworks to CCP as its major fundraiser. The prints are offered for sale to CCP patrons and art collectors.

To view more past exhibition examples, visit the CCP website.

  • Kodak Salon 2011 Promotional Poster.

  • Kodak Salon 2011 Wall Text.

  • National Indigenous Photo-Media Forum Lightbox Display.

  • Exterior view: Night Projection Window, Centre for Contemporary Photography.

  • Installation view: Melbourne Art Fair, Royal Exhibition Building, 2010.

Introduction

Promoting and marketing are useful ways for an arts organisation to establish, maintain and build a public profile.
As a not-for-profit organisation, CCP has a modest marketing budget for public engagement.

Their marketing strategies are designed to connect with the public in order to inspire them to see an exhibition, enrol for an education program, attend an event or even participate as a volunteer, member, patron or exhibiting artist.

Word-of-mouth

Their most effective form of marketing is word-of-mouth or social media, arising from a great exhibition, lecture, workshop or public program. CCP’s only regular advertising is listings in the Art Guide and Art Almanac and sometimes in the online community site ArtsHub.

Press releases

CCP’s curators strive to generate free publicity for the gallery through press releases to newspapers. Print media is invaluable for the gallery in reaching a broader audience.

Festival partners

Free publicity often arises when CCP exhibitions are affiliated with large festivals such as Next Wave and the Melbourne Festival, or when CCP participates in off-site events such as the Melbourne Art Fair.

In-tram promotion

A further form of free publicity is granted to CCP on application, when Yarra Trams promote CCP’s Kodak Salon through in-tram promotional posters.

Facebook community

CCP has about 8,000 email subscribers who receive invitations to exhibitions openings. CCP has also created an online presence on Facebook with approximately 5,500 members. This has been a successful way for the gallery to connect with people both local and abroad.

One effective tactic has been to ask our Facebook members to tag people in an opening night photograph. These photographs provide attendees at these events with a record of themselves and their friends that can be shared, and which is conducive to viral promotion.

‘Like’ CCP’s Facebook page now.

Twitter account

Twitter is another form of social media being used to promote CCP, with tweets such as ‘Don’t miss this Saturday’s artists talks’ used to generate interest.

Follow CCP on twitter now.

Design

CCP employs an in-house graphic designer who ensures that all forms of marketing and promotion undertaken at the CCP are professional, clear and effective. CCP’s graphic identity is carefully considered and maintained.

Window promotion

CCP’s Night Projection Window, while presenting one of the country’s longest standing and effective night projection screens for contemporary art, is also an effective way of promoting CCP to a broader audience.

Every night, a temporary video artwork or slide show can be viewed on CCP’s George Street window, giving locals and visitors to the Fitzroy precinct a taste of what they may see if they come inside the gallery during opening hours.

CCP operates with a small team of committed professional staff who work together to: deliver a varied exhibition program; promote CCP events and programs; apply for sponsorship; report about CCP operations; work within budgets; and develop partnerships with patrons and donors.

 

Sometimes working in a small arts organisation requires undertaking odd tasks that would be unheard-of in a larger organisation with highly specialised roles, and much of the work is collaborative in nature.

 

The definitions below give a broad understanding of the various roles and responsibilities within the CCP team.

Represents CCP at art industry events

 

Fosters good relations with government agencies and representatives

 

Cultivates an effective network of patrons, partners and sponsors

 

Liaises with representatives from other organisations to build the profile of the gallery

 

Oversees the exhibition proposal process and development of the CCP exhibition program

 

Develops an overarching vision for the gallery in collaboration with staff and CCP Board members

 

Employs and supervises CCP staff members

 

Briefs stakeholders about CCP projects

 

Presents opening night speeches and introduces artist floor talks

 

Writes for journals and curates special projects and exhibitions

 

Ensures that CCP balances its books and meets all legal and compliance obligations

Administers CCP budgets in consultation with CCP Director and staff

 

Supervises some CCP staff and projects

 

Prepares statistical and financial reporting to CCP Board, government agencies and auditor

 

Oversees the CCP Annual Report

 

Builds and maintains sponsorships and ensures all sponsor agreements are met

 

Manages contractual relationships with patrons, sponsors and partners

 

Maintains relationships and reporting to sponsors

 

Manages contracts with CCP staff and day–to-day gallery operations

 

Networks with other arts organisations

 

Acts as Deputy for CCP Director when required

 

Participates in programming meetings and the proposal process

Manages book-keeping and records, including salaries and leave, petty cash, payment and issuing of invoices

CCP currently employs two part-time curators (Managing Curator and Associate Curator) who fulfil slightly different roles with a degree of overlap.

 

The Managing Curator’s key role is to manage the CCP’s Exhibition Program. Key responsibilities are to collaborate with artists in the CCP exhibition program, and to respond to media enquiries, such as providing journalists with information and images.

 

The Associate Curator’s key responsibility is to conceptualise, plan and manage the CCP’s curated exhibition program. This includes selecting which artists to exhibit, developing methods to present individual artwork, and writing and publishing catalogues.

 

Both curators

Handle artworks in accordance with appropriate conservation practises

 

Liaise with other staff to develop strategies to promote and deliver the exhibition program

 

Work closely with artists on exhibitions and on all associated texts

 

Maintain their own exhibition budgets

 

Apply for funds and acquit grants from time to time

 

Remain abreast of current developments in photomedia practice, technology, and critical writing

 

Attend CCP and other openings and exhibitions

 

Write catalogues, publicity materials and contribute to education and public programs

Updates the CCP website on a regular basis

 

Designs CCP’s marketing, promotions, educational and reporting documents

 

Facilitates distribution of all printed and electronic communications

 

Leads development of effective design strategies for catalogues, flyers, posters, wall text and labels

 

Looks after CCP’s information technology

Manages installation and de-installation of exhibitions

 

Manages CCP volunteers and weekend staff

 

Arranges catering for the CCP events

 

Manages all front-of-house operations

 

Manages the CCP workshop program, membership and databases

 

Oversees bookings for public programs

 

Liaises with other CCP staff to manage particular events

 

Contributes to public programming and gives floor talks

 

Assists in applying for and acquitting grants

 

Manages the Kodak Salon


Contributes to CCP social media channels

Initiates, develops and delivers education programs for school groups

 

Develops and presents floor talks and lectures

 

Manages the CCP education database

 

Promotes and markets CCP education programs

 

Liaises with representatives from state education and curriculum bodies

 

Researches the artwork of exhibiting artists and creates online education resources

The following Art Industry sample questions have been designed for Studio Arts teachers and students to consider in response to FAST gallery visits and online resources.

Question 1:
How has the exhibition artwork been displayed?

 

Question 2:
How does this support:
- the artist’s intention?
- the navigation of the gallery for viewing?
- the longevity and integrity of the artwork?
- the vision of the gallery?

 

Question 3:
What does this exhibition design communicate to the viewer? How?

 

Question 4:
How has this exhibition been promoted and marketed?

Question 1:
Describe the difference between a public and commercial art gallery.

 

Question 2:
Describe the difference between a public gallery and artist-run initiative.

 

Question 3:
Do any of the FAST galleries maintain a permanent collection? Name a gallery in Melbourne that does, and discuss the nature of that collection.

 

Question 4:
View a current exhibition at CCP and Sutton Gallery
. How are the artworks presented to the public? Describe the process involved in developing and installing these exhibitions.

 

Question 5:
What kinds of opportunities are there in Fitzroy for emerging artists to exhibit their work? What steps could they take to apply for and secure a venue to display their work?

 

Question 6:
View a current exhibition at SEVENTH gallery.
 How are the artworks presented to the public? What budget did the artist need to have? Provide another option for presenting the same work.

 

Question 7:
How does Sutton Gallery promote their stable of artists? Describe some of these tactics.

 

Question 8:
In an essay, discuss and evaluate the type of work of one gallery director interviewed in the FAST O&A. What do you think are the most rewarding and challenging aspects of their role? 

 

Question 9:
What do you think are the main factors that have made Fitzroy a successful context for exhibiting contemporary art?

 

Question 10:
Describe, using specific examples, two factors that must be considered in relation to the display of artwork.

 

Question 11:
Discuss the role of lighting, temperature, handling and materials in relation to the conservation and preservation of artworks.

 

Question 12:
Outline the duties of the curator in developing and presenting an exhibition.

 

Question 13:
Describe typical methods of handling framed and unframed photographic prints during the installation of CCP’sKodak Salon exhibition.

 

Question 14:
What are three common methods used by artists to present and install their artworks at CCP? Compare and contrast these methods in terms of their potential (strengths and weaknesses) to conserve and preserve the artwork.

 

Question 15:
Identify and discuss the preservation and conservation issues in relation to contemporary art.

 

Question 16:
Give an example of how three different staff members could have contributed to developing, presenting and promoting an exhibition that you have seen at CCP.

 

Question 17:
How does a contemporary art gallery such as Gertrude Contemporary attract audiences to their exhibitions?

Archival materials

Archival materials are characterised by long lasting properties, such as a neutral or slightly alkaline pH level.

 

Art fair

An art fair is an event, in a temporary space, where galleries from all over the world come together to exhibit and sell artworks.

 

Biennial

A biennial is an exhibition held every two years.

 

Condition report

A condition report is a written document recording details about the condition of an artwork over time, including any damage or unusual characteristics, typically used for works on loan from other galleries or collections.

 

Curator

In contemporary art organisations, a curator is responsible for the selection and interpretation of works of art through exhibitions, talks and publications.

 

Emerging artist

An emerging artist is a practicing artist in the early years of their career (regardless of age), with a growing but modest body of work.

 

Ephemeral artwork

An ephemeral artwork is one that is made to last for a short time.

 

Established artist

An established artist is a practicing artist who has reached a mature stage within their career, often with some national and/or international recognition.

 

Exhibition proposal

An exhibition proposal is a written plan for a proposed exhibition generated by artist/s or curator/s. This may include the formal and conceptual ideas of the show, the budget if necessary, and the list of works.

 

Gallerist

The person, usually a director, who operates a commercial art gallery.

 

Gallery etiquette

Gallery etiquette is a group of expected behaviours specific to the gallery space, such as no touching artworks.

 

Group exhibition

A group exhibition is a single exhibition where artworks by two or more artists are displayed together.

 

Inherent vice

All materials contain inbuilt physical properties (inherent vice), which lead to their deterioration over time. 

 

Installation

An installation is a form of artwork or art display that is site-specific. Installation art is often of an ephemeral nature and frequently employs non-traditional materials.

 

Mid-career artist

A mid-career artist is a practicing artist who has generated an extensive body of work over at least a decade, typically with several solo exhibitions and recognition within the local art industry.

 

Opening night

An opening night is a celebratory event to mark the first public showing of an exhibition.

 

Photomedia

Photomedia is defined as either photography or video art that includes, but is not limited to, analogue photography, digital photography, photograms and digital video.


Pop-up show

A pop-up show is a short exhibition held at a non-traditional venue.

 

Preventative conservation

Preventative conservation is a range of proactive measures that may help to delay the natural or accidental degradation of artworks.

 

Print media

Print media is a form of communications printed onto paper rather than broadcast or transmitted electronically. For example, printed catalogues, photographs, newspapers, magazine, flyers and posters.

 

Remedial conservation

Remedial conservation is a range of actions applied to artworks to address damaging processes, often needed when an item is in a fragile condition and/or deteriorating quickly.

 

Retrospective exhibition

A retrospective exhibition aims to represent an established artist’s body of work, rather than just focussing on their most recent work.

 

Social media

Social media is an electronic form of communication in which individuals and organisations form online communities to share information, ideas and messages.

 

Solo exhibition

A solo exhibition features the work of a single artist.

 

Stable of artists

A stable of artists is a group of artists associated with a particular commercial gallery.

 

Time-based media

Time-based media are artworks that are can be experienced over time, including sound, video, slide shows and performance.


Wall text

Wall text is the identifying text for an artwork typically displayed on the gallery wall alongside the art. Wall text usually includes the artist’s name, title of the work, dimensions, media, date created, the artwork’s owner and, in some cases, a block of text interpreting the artwork.