Preparing for an Exhibition and Final Thoughts
Lesson 32 from: The Art and Business of Conceptual PortraitureJennifer Thoreson
Preparing for an Exhibition and Final Thoughts
Lesson 32 from: The Art and Business of Conceptual PortraitureJennifer Thoreson
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
Preparing for an Exhibition and Final Thoughts
Okay preparing work for an exhibition let's kind of will jump through this but I use a framer I don't like how I hate frame me I hate it hate it hate it I'll do it but it is the worst so especially new mexico where there's dust everywhere so I use a framer if you don't know a framer ask a gallery who they use or fellow artists who they use a lot of framers will give you a great discount to frame an entire exhibition so I do that I framed my whole show the whole thing at once for an exhibition then usually I could just create that whole thing and ship it off so I don't have to frame it you know more than once or anything and it's not one off for one of the time so it's cheaper that way so ask for estimates from your framer mat versus no mat matt density so how thick is it the frame moulding itself with that going to cost how thick is it what's it made out of metal is cheaper than would that kind of thing and then the type of glass or plexi plex is a lot more expensive than glass you can...
pay two hundred dollars for a piece of non reflective glass or you could pay twenty dollars for a piece of regular glass so you have to make that call you know how how fancy want the framing to be archival matting if somebody brings over that that framed piece real quick, I'll show you the matting. We'll do this quickly, but I want you to see this is another way that I awesomely embarrassed myself. That's okay? In the beginning, I didn't know what I was doing, so I didn't know what archival matting waas. So when I submitted my first prince to verve, this amazing gallery, I tape them to the map because I didn't know you better, and they're like, no, you can't do this ever again. So now I know, I know you will know if I could get this so frame I should show you that first that's why it's put together this is a metal frame. The least expensive thing you could get really from nielsen frames. I order these on my own. They'll send you a whole kit for a matte framing hinge tape everything so you can just frame them yourself. And when I was starting out, I did because I couldn't afford to have a framer do it for me. But it sucks. Ok, so if I pull this guy apart, make a mass that on the floor. Okay, you've got your glass top, I regular glass because I could not afford to dio fancy glass. Okay so then you've got your mat okay um I like the bevel I like to think mass but again no more expensive this is a four ply matt this is what I could afford at the time it still looks nice and then inside the top has hinged tape it's called what archival linen hinge tape okay and that's what you want to use there's no gluing there's no pasting there's no taping just the head shape so it opens like a clamshell and you just do the top there's no gluing down here either you can use one little strip of archival pinch tape also on the bottom if you want teo don't have tio okay most importantly the inside you've got framed corners yeah corners toe hold the print in place there's no glue there's no nothing okay the print comes right out it's signed in addition so there's no damage to the print if it needs to come out of the map ok because if they sell the print it has to come out of the map which I didn't know okay now I d'oh but you just stick him in the little our kabul frame corners or from the frame shop and there you go it's easy to do really I'm just lazy let's keep it real okay so that's archival matting so don't embarrass yourself okay this is the place I said neilson neilson is the brand from jason's friend frame destination. And he just loaned out eyes where I get them from. So they sell bulk frame, and that combinations for exhibitions. You can buy all you know, all twelve, all twenty whatever at a time. And it saves you a lot of money to buy the whole exhibition, rather than buying one frame at a time. Also, they'll send you the frame. The mat, the tape, the hinge tape in the corners for a brew piece. So it's, like a kit and that's been really good for me.
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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Portrait Photography