Thinking of a Show.....

Good question -- I personally don't know. I used to do smaller prints (like 7"x10"), and mat/frame them 14"x18". Now I'm printing about 11"x16", and mat/frame 20"x24". I just sold a framed version of the piece below, but the purchaser thought that it had too much mat. So he wants me to re-mat and frame 16.5" x21", which is fine by me (customer is always right!). I did wonder if I was over-matting my work, but now that I've started to frame them, they look fine to me. If anything, I might come down to 18"x24" rather than the 20"x24", but I'm always open to better suggestions.

I personally like a big mat because it gives a healthy 'quiet space' around the image, and it pushes the frame further away from the image (as well as other images that might be hanging next to it). But is there a rule-of-thumb for image to mat? I had always thought it would be 3" left, right and top, and 4" on the bottom. Therefore, for an 11"x16" print the mat/frame size would be 18"x22". So maybe I am over-matting by 1" in each direction?

Dunno, does this look over-matted?


Frame1 by Vince.Lupo, on Flickr
 
You need a theme. Pick a subject and work at it. For years. Once you have a coherent body of work, then start showing it to galleries.

Your pictures are all perfectly fine...but they don't cohere in any meaningful way, and as such will be viewed simply as decorative.

Having a coherent body of work and pursuing a coherent theme wherever it leads, without preconceptions, is what produces good work that galleries are interested in.

Right now, your pictures indicate you're a good technician. Take the next step.
 
I haven't been to a photo gallery in a long time, but your mat looks right to me. I don't know if you have experience with gallery owners or customers preferring large over small or vice versa.
 
It does not look over-matted to me. This is my style of framing, and I like a generous mat. No problem with up to 4". I would not be pleased with matting as your customer requests, but he's the customer.... I go to a lot of shows at the Art Institute of Chicago, and more mat rather than less is the norm. You're looks just right to me. I recently attended a Michael Kenna show, and his standard is 8" square prints in 16 x 20 frames. They looked wonderful.

I wanted to add that if your goal is sales, I personally feel you have better options than 1, 3, and 5 (from list of seven above). I like them, but my sense is that most buyers may be less interested in displaying a print in which the people are so recognizable. I mean prints from unknown photographers. I think your alternates are better choices, at least in terms of sales potential. This is a completely subjective viewpoint.

BTW, did you approach the hotel? Were they already hanging photos? How did that process work? Thanks.

John
 
L Collins said:
You need a theme. Pick a subject and work at it. For years. Once you have a coherent body of work, then start showing it to galleries.

Your pictures are all perfectly fine...but they don't cohere in any meaningful way, and as such will be viewed simply as decorative.

Having a coherent body of work and pursuing a coherent theme wherever it leads, without preconceptions, is what produces good work that galleries are interested in.

Right now, your pictures indicate you're a good technician. Take the next step.
Click to expand...

Thanks for the feedback. Yes, I have been accused of being a 'technician', and I won't deny that I like my photos to have a certain 'quality' about them (and as a commercial photographer, my clients expect it). And yes, people do buy 'art' for all kinds of reasons -- for some, it has an emotional response; for others, it matches their couch. I wouldn't be surprised if a few Rothkos sold for the latter reason.

As far as picking a subject and working on it for years before exhibiting, I personally don't think the creative process always works that way (at least for me). Sometimes things happen consciously, sometimes unconsciously. And as I mentioned in an earlier post, if I were to consciously 'decide' on a subject, then I'd be saying to myself "today I'm going to go out and photograph 'x' and nothing else, because that's what I told myself that's what I should do". Unfortunately I don't think I consciously work that way (at least in my personal work). Maybe it's ADD :). I think there is an 'essential' part to anyone's personality that remains even as the years go by, and knowingly or unknowingly, we all tend to gravitate towards similar things, and (I'm hoping) they're reflected in the photos. Looking back on my work from the last 35+ years, I think this 'vein' of work started in 1993 after my first trip to France. It opened something up in me (though it was probably always there within), but I'm pretty sure that it led me down this path - however circuitous it's gone.

So a theme? Well I seem to see one, looking at them together. Isolation, remoteness, lonliness, solitude, melancholy and moodiness - perhaps a touch of sadness. There's also a bit of being left behind and/or imprisonment that I like to think comes through. Just look at the situations and how the subjects are resigned to their place in the world. The elk. The fan. The popcorn vendor. The group of seniors who have been left behind ("Where's that damned tour bus? Did they forget us?"). I hope the qualities of the black and white only enhances these concepts. But here again, that's not necessarily for me to tell you what you should be seeing. We all bring different things to our perception of an image, and some things will resonate with some people, some not at all. And I'm fine with that. I mean, I think Cy Twombly's work is ridiculous, but other people like it, see meaning, and it sells for millions (not that $$$ necessarily implies quality/goodness).

As far as working on a subject for years, and THEN approaching a gallery, that probably does make sense. Of course, galleries are usually only exhibiting recent work, not things you did 20 years ago. But I get your point - over that long period of time you'll have refined your 'message' and will hopefully be reflected in the more recent work (Neil Peart of Rush has said that he wishes Rush started with Moving Pictures - their 8th album). But you know, I'm at a point in my life now (48) in which I'd like this work to live and breathe beyond my four walls. And if it's showing a 'working through' something, then that's fine. Here again, everyone's going to get something (or nothing) out of my work. I'm okay with that. But unless I give it a shot and see for myself - good or bad - then I'll never know.
 
johnwolf said:
It does not look over-matted to me. This is my style of framing, and I like a generous mat. No problem with up to 4". I would not be pleased with matting as your customer requests, but he's the customer.... I go to a lot of shows at the Art Institute of Chicago, and more mat rather than less is the norm. You're looks just right to me. I recently attended a Michael Kenna show, and his standard is 8" square prints in 16 x 20 frames. They looked wonderful.

I wanted to add that if your goal is sales, I personally feel you have better options than 1, 3, and 5 (from list of seven above). I like them, but my sense is that most buyers may be less interested in displaying a print in which the people are so recognizable. I mean prints from unknown photographers. I think your alternates are better choices, at least in terms of sales potential. This is a completely subjective viewpoint.

BTW, did you approach the hotel? Were they already hanging photos? How did that process work? Thanks.

John
Click to expand...

John, thanks for the advice. Yes, your suggestion about 1, 3 and 5 makes sense. I'll be framing everything today, so I'll switch those out and see how they look.

As far as the hotel goes, the local arts center has an arrangement with the hotel to hang in this particular space in the lobby. I applied to exhibit work at the arts center, and they told me that they were booked up until June, at which point they'd be closing the gallery for a month to renovate. But they had this immediate opportunity at the end of December and would I be interested? The hotel just wants to have something hanging in this spot - they're 4 - 48" wide panels, and they have that hanging rod system. So the hotel is happy to showcase local work, and they don't want a commission. And, they said that if I sell a piece, I can replace it with another piece -- for as long as I want, or until the arts center has another artist who wants to show there. So it seems like a great arrangement for both parties!
 
Vince Lupo said:
Thanks for the feedback. Yes, I have been accused of being a 'technician', and I won't deny that I like my photos to have a certain 'quality' about them (and as a commercial photographer, my clients expect it). And yes, people do buy 'art' for all kinds of reasons -- for some, it has an emotional response; for others, it matches their couch. I wouldn't be surprised if a few Rothkos sold for the latter reason.

As far as picking a subject and working on it for years before exhibiting, I personally don't think the creative process always works that way (at least for me). Sometimes things happen consciously, sometimes unconsciously. And as I mentioned in an earlier post, if I were to consciously 'decide' on a subject, then I'd be saying to myself "today I'm going to go out and photograph 'x' and nothing else, because that's what I told myself that's what I should do". Unfortunately I don't think I consciously work that way (at least in my personal work). Maybe it's ADD :). I think there is an 'essential' part to anyone's personality that remains even as the years go by, and knowingly or unknowingly, we all tend to gravitate towards similar things, and (I'm hoping) they're reflected in the photos. Looking back on my work from the last 35+ years, I think this 'vein' of work started in 1993 after my first trip to France. It opened something up in me (can't say for sure what it was), but I'm pretty sure that it led me down this path - however circuitous it's gone.

So a theme? Well I seem to see one, looking at them together. Isolation, remoteness, lonliness, solitude, melancholy and moodiness - perhaps a touch of sadness. There's also a bit of being left behind and/or imprisonment that I like to think comes through. Just look at the situations and how the subjects are resigned to their place in the world. The elk. The fan. The popcorn vendor. The group of seniors who have been left behind ("Where's that damned tour bus? Did they forget us?"). I hope the qualities of the black and white only enhances these concepts. But here again, that's not necessarily for me to tell you what you should be seeing. We all bring different things to our perception of an image, and some things will resonate with some people, some not at all. And I'm fine with that. I mean, I think Cy Twombly's work is ridiculous, but other people like it, see meaning, and it sells for millions (not that $$$ necessarily implies quality/goodness).

As far as working on a subject for years, and THEN approaching a gallery, that probably does make sense. Of course, galleries are usually only exhibiting recent work, not things you did 20 years ago. But I get your point - over that long period of time you'll have refined your 'message' and will hopefully be reflected in the more recent work (Neil Peart of Rush has said that he wishes Rush started with Moving Pictures - their 8th album). But you know, I'm at a point in my life now (48) in which I'd like this work to breathe beyond my four walls. And if it's showing a 'working through' something, then that's fine. Here again, everyone's going to get something (or nothing) out of my work. I'm okay with that. But unless I give it a shot and see for myself - good or bad - then I'll never know.
Click to expand...

Vince, i hope you don't take offense, because your photos are very well done and do stand up on their own terms.

Unfortunately, while that may be sufficient for your own gratification, galleries see pretty, well made pictures on a constant basis. What they want is a vision, a body of work that stands apart and says something as a whole to the viewer. Something that communicates a POV. And that's the most difficult step.

And once you get there, you then have to commodify your work and justify it with artspeak, which, to me, just takes the joy from it.

I've been gallery represented both as a photographer and a painter. Especially with my paintings, I almost felt violated by having to justify/explain them. You've put something very personal out there and surrender it for money. Every painting I've sold I'd buy back in a second if I could.
 
Vince I know that a photo show is a very personal choice unfortunately in this case I have to disagree with your choice. The venue is in a hotel not a gallery or private atelier show a hotel. The rooms are okay, the boxing kids not so much neither is the cute kid "walker". Gallery 3 again not the best choice for a hotel the landscape and dead marches would be a better choice for a hotel.

I also believe that a show is stronger if it has a theme even one in a hotel.

HCB was quiet smart by calling his show the decisive moment which allowed him to show pretty much anything, the world has changed since then. Galleries want a body of work or an overall theme. They also accept a style in place of a theme if you have an instantly recognizable and saleable style they will take and not care about the theme. Though they will ask for a show titel/theme.

A hotel lives from tourists so making a show about the city in which the hotel is might generate sale it also allows you to put varying subjects in your show. NY NY for example you can use classic touristy images, images of the people etc...
 
Yup you're totally right. Wish I did have some Baltimore images, but I don't (the 'gallery' photos are in Washington DC, however, though they don't necessarily say 'Washington, DC' nor do I feel that they need to). And if I had an interest in that subject or a specific locale, I'd definitely do it. But honestly I don't.

What I have at the moment are these 25 images, and have been given an opportunity to show in this venue. If you guys have better suggestions for the 7 choices, I'm all ears!
 
L Collins said:
Vince, i hope you don't take offense, because your photos are very well done and do stand up on their own terms.

Unfortunately, while that may be sufficient for your own gratification, galleries see pretty, well made pictures on a constant basis. What they want is a vision, a body of work that stands apart and says something as a whole to the viewer. Something that communicates a POV. And that's the most difficult step.

And once you get there, you then have to commodify your work and justify it with artspeak, which, to me, just takes the joy from it.

I've been gallery represented both as a photographer and a painter. Especially with my paintings, I almost felt violated by having to justify/explain them. You've put something very personal out there and surrender it for money. Every painting I've sold I'd buy back in a second if I could.
Click to expand...

Oh no, no offense at all. Believe me, I'm a veteran of many undergrad and grad school critiques. Just take a class with Dave Heath, Phil Bergerson or Craig Stevens -- they'd make you cry! Google these boys (particularly Dave Heath) and you'll see what I had to contend with!

Well all I can say is that I'm giving this a try at this point in my life and with these photos that I currently have. I'll see what kind of feedback I get from the various venues I've contacted, and will continue to build on and refine the theme.

And believe me -- all comments are welcome.
 
Vince Lupo said:
One of the things I just tried was a Flickr 'book'. I chose 23 of the 25 photos and created a book out of them using their new service. The book cost $37.45 including shipping -- the way they currently have it, it's strictly a photo book, so the only text you have is on the cover and spine (and it's even limited at that!). So I got one made and I should receive it tomorrow. One thing I was thinking of was to sell the book as an (relatively!) inexpensive way for someone to have some of my work. I'll have to see how this book looks first before I travel much further down that road. I'll find out tomorrow!
Click to expand...

I am interested in creating books as well. I'd be interested to know what you think of the ones from Flickr. I saw some at Costco and was unimpressed with the quality of the paper/printing. Anyone have any recommendations?
 
Vince Lupo said:
Well all I can say is that I'm giving this a try at this point in my life and with these photos that I currently have. I'll see what kind of feedback I get from the various venues I've contacted, and will continue to build on and refine the theme.
Click to expand...

Wherever this leads, it will be great having an audience for your photos. That's something most of us will never have. All the best with it.

John
 
Finally managed to get all the photos hung up today at the hotel. It was a bit of an ordeal - the hanging rods they had were all too short (my photos would have been 7 ft. off the ground), and my solution that I thought would work, didn't. But the local arts center rescued me by providing some nice wire hangers. So everything matches and they're all at a nice viewing height.


Aloft Show by Vince.Lupo, on Flickr

I decided to use the photo with the fan, the one with the elk, the Model A, The Dead Marshes, the boxing one, the Gettysburg photo, and our lady in the cathedral. I think it's a good combination of people and places/things, and I'm happy with it. The hotel is thrilled!
 
Vince

I just caught onto this thread. What outstanding commentary !

I liked all your images, and the last picture of them hanging there is pretty exciting.

I wish you the very best on this exhibit.


(You should give Blurb another look ! ;) . . . download the program and work offline.)
 
Many thanks guys for all your comments and critiques. If everything goes well and the hotel is still happy with everything, I may approach other hotels within this chain to see if they also have exhibition space. Why not, right?
 
Vince Lupo said:
Many thanks guys for all your comments and critiques. If everything goes well and the hotel is still happy with everything, I may approach other hotels within this chain to see if they also have exhibition space. Why not, right?
Click to expand...

Congrats, Vince. They look wonderful. Seem nicely lit, too.

John
 
You must log in or register to reply here.
Back
Top Bottom