Lessons
Day 1
1Conceptual Meaning and Inspiration
20:56 2How to Get Started
10:18 3Breaking Down Your Own Experiences
15:00 4Experimenting with Homemade Materials and Spaces
15:03 5Testament Series
16:35 6Conceptualizing a Body of Work
11:30 7Concept Origin
31:42Thinking in Layers
13:31 9Writing an Artist Statement
09:41 10Commissioned Work vs. Fine Art
06:48 11Creating a Visual Vocabulary
10:40 12Preparing a Conceptual Beauty Shoot
08:23 13Preparing the Model
18:23 14Shooting a Conceptual Beauty Shoot
16:15 15Shooting a Conceptual Beauty Shoot Part 2
17:04 16Conceptual Beauty Shoot Questions
06:19 17Conceptual Domestic Shoot Prep
07:13 18Conceptual Domestic Shoot Part 1
25:51 19Conceptual Domestic Shoot Part 2
08:40 20Conceptual Domestic Shoot Part 3
30:19Day 2
21Submitting Work to Galleries
15:34 22Submitting Work to Publications
21:52 23How to Submit Work
06:51 24Writing a CV or a Bio
08:35 25Writing a Grant Proposal
12:57 26Artist Residencies
09:33 27Portfolio Reviews
20:49 28Pricing, Edition and Signing your Work
14:50 29Printing Your Editions
06:46 30Working with Galleries
14:16 31Building an Audience
04:56 32Preparing for an Exhibition and Final Thoughts
04:30 33Making a Living
06:38 34Conceptual Shoot with Family
1:27:00 35Conceptual Shoot with Male Model
58:17 36Post-Processing Conceptual Shoots
25:00Lesson Info
How to Submit Work
Okay, so juried exhibitions are a little narrow, narrow where of a category and just kind of general exhibitions and gallery exhibitions stuff all it means is there's a juror usually one person times um, you know, it could be two or three people who are kind of judging the work and choosing what's going in the exhibition slightly different because it's not like a contest it's not always just the best work sometimes it's just people wanting to put together a cohesive exhibition so doesn't mean if your work doesn't get in it doesn't mean your work's not good, it just means he didn't fit what the juror had in mind for that show. So they're curator is they're curating something that they think in all the work informs each other some makes sense kind of s o they're everywhere on those submission website, you'll see links for juried exhibitions I like to submit to those because they're qualified the person who's jury ing them is usually pretty well plugged in and qualified and knows people a...
nd so showing them my work helps me a lot, you know? So I'm looking for exhibition that are perfectly suited to my work, so rule specific like the fiber one for instance, you know, that was a good fit for me um, have a jury would like to connect with so I mean there's so many of these things and so look for somebody who you are interested in meeting and interested in having a look at your work you know that you think is a good connection for you otherwise you could submit to hundreds and hundreds yeah just starting and you're an emerging artist how do you know who the juror is you have to just do your research google yes google them yeah find out what their history is you know how they worked from museum do they are they galleries so they have publisher how many publications have they worked for you know how how well plugged in a sister who is this guy who was this lady and include venues that you want to work with so not only the juror but that juror could be coming from the art institute of chicago who's during a show in san fran so at a gallery so you might want maybe you don't care where the jury is but you really care about that that gallery you dying to get into that space right so just look for both of those things up juror that's plugged in that you're interested in and an exhibition space or whatever publication that you're you're really interested in being in on again you just google jury exhibitions and there's hundreds of them so this just takes time and we have to you have to research what you're doing you know look at it and really research find out who juror is find out about the exhibition space, you know that kind of thing, same thing here. It's, another website call for entries from the griffin museum. I love museums because it's a different world than the gallery world, so submitting to a museum who were then maybe interested in buying and collecting your work for the museum collection is a lot different than having it in a gallery galleries there hoping to sell to the public right museums or collecting for their for their collection, and that by the work up front, hooray! How to submit here we go, so you're going to need a website, of course, right? But it continues to be good, and he used to be nice and needs to be something that someone clicks on. The very first impression is great and clean and that you have got your act together, you know you're put together person on artist bio, we're gonna look at mine in a minute, there's a lot of ways to do it, but you're going to need one of those artist statement we talked about yesterday artist statement needs to be really good, it needs to be great, the language, no typos, you know, no grammatical errors. And the language needs to be flawless, and it needs to be very informative and draw somebody in, so if you need help and you need to hire someone to write the artist statement that's the thing to spend the money on the artist statement, okay, it needs to be good cvr resume we're going to look at both in a minute, there's a difference between the two and you're going to need both because ah lot of places want a cb and a lot of places wanna resume, and they're they're different images, of course size it's labeled exactly the specifications, so those basically are the things you need to have in your back pocket all the time ready to go so you can pretty much anything. This is just a screen capture of my website it's really simple just has, you know, the main image on the page, a thing that is kind of my showpiece. Usually I say, pick out a piece that you want to use to market yourself one, so I used the same image for everything, because if somebody sees this on my website, then maybe they see it on an exhibition card or they see it on a postcard to see in a magazine and can connect the two if I use a different image every time that's not gonna happen is easily so choose the one you think is either the best or the one people are going to respond to the most and that's the one that goes on the front page of the website and everything else so you can see I've just got photographs at the top that's the link people I hope going to click on and I look at my analytics all the time and I can see where people click and so I know that that's working that people are looking at the photographs the most portrait's in my women's work I've gotta blawg investment which is a tab that tells you all my galleries and where to buy my work I do teach workshops that's on there my store where you confine my my actions and products and stuff like that about is my artist bio exactly the way I send it to everybody else important for galleries and stuff you were goingto maybe they seem I don't know they seem I work in an exhibition and are interested in it they're going to want to see exhibitions, press and awards that's the link they're going to click on so make sure that's on there if you have an exhibition history even if it's to shows or five put it on there because I know that but your emerging and then of course contact information so it just showing you kind of what it looks like when you're looking at the galleries this is rachel's website, so again it looks pretty similar, right? Just clean, just clean. You don't want a lot of caca on there just so much you need him to see no music I need that stuff is my best advice just this is my friend and he's a murray. Her website, I think is really beautiful, too. She's you should look her up. She she did a whole show of instagrams that she turned into tin types and calls instagrams just pretty cool so should look her up. She's a cool girl, abby. We looked at her work yesterday. I mean, it fits right like with that robot sort of technical into that kind of with even the font and everything. She doesn't have any image, even on her front page, but it feels cool. Don't you think that has a good wife five to it? So you want people to think you're plugged in and know what pack you're doing, mainly that's, sort of the idea.
Class Materials
Bonus Materials with RSVP
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
"Thinking about art is not making art." In this inspiring and informative workshop, Jennifer helps you put thought into action - through meaningful self-reflection, exploration and by taking her through her own processes. Through exercises and examples, she explains how to pull out a thread of an idea and develop it into a conceptual project that is informed and invigorated by personal experience, preference, interests, and so much more. Her workshop not only feeds the creative soul, but offers earnest information on taking first steps toward publishing and showing fine-art. Jen so beautifully shares her talent and her love of teaching - I first "met" her on Creative Live and have had the joy of being mentored by her in-person as well. This workshop is a very close second to spending time with her one-on-one. Thank you, CL, for bringing her back!
kalei harmon
I love Jennifer, she's one of my cL favorites! She is such a soulful photographer and her art just resonates with me in so many ways. While she was creating her conceptual piece with the mother and child, my eyes welled up because it was such a profound experience to witness. I appreciate that she has a graduate degree in art and is able to refer to others in the field who are leading the way. She is so genuine and I'm grateful for her willingness to bare her soul to us through her art and process. I've learned so much by watching how she interacts with models and communicates efficiently and gently to get AMAZING poses. Definitely worth the buy if you're looking for inspiration from an artist who creates images which evoke emotion and communicate a message, not just trying to make "great photos." I can't wait to learn about the business side of it all!
Majda
I am so grateful for this class; it is just what I have been looking for to help me go beyond my "photographic potty training". By leading us through her own creative process, Jennifer Thoreson invites us to think about why we do what we do and to make our work more meaningful and authentic, creating our unique visual vocabulary. Moreover, she provides detailed info on submitting work to galleries and publications, contests, printing editions, preparing an exhibition and pricing. In her calm, unpretentious manner, Jennifer demystified art without trivializing it and I finally saw light at the end of a rather long tunnel.
Student Work
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