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A Workshop by Jon Rader Jarvis

This is a high content workshop. Each class member will participate in the discussion of ways to improve their presentation techniques to: Schools, Galleries, Museums, Societies and potential buyers. The workshop handout is a fully packed reference work with sources, bibliography and links

Chapter Contents:

2. Introduction
3. Bio
4. Beginning, Form, Application Packet
5. Proofreading, Correspondence,
6. Photographing the Work, Background, Taking pictures, the 3 camera types,Slide film
7. Slide Processing, Slide List, Slide Labels, Content
8. Philosophy, Ethics – Image, Yourself, Clothing, Manner,
9. Making Contact – Research, Visit, Call, Application contents, the Slide Sheet,
10. Direct Presentation – Portfolio, Studio, Home
11. Notes – Photo Supply Source List, Slide Marking
12. Photography – SLR, Digital, Scanning
13. Printed Material – Flyers, Business Cards - Computer – Software, Support, Record Keeping, Printing -
14. Web Sites – Content, Speed, Appearance, Simplicity – Gicleé Prints – Proliferation, Extending the Base
15. Record Keeping: Artwork, Slides, Correspondence – Finances – Costs, Planning
16. Copyright Protection, Practical Concerns
17. Conclusion - Source Links, Suggested Bibliography

Presentation directly affects our evaluation by others. Academic review committees judge for: acceptance, advanced placement and admittance to graduate school by this process of evaluating student-artist presentations. The gallery or exhibition judging is little different. From the initial letter of interest to showing the work, the quality of what you do, your thoroughness and dependability are all judged in a few moments. There is nothing fair about being judged by first impressions, but ignoring that fact puts you and your work at a disadvantage.

As an example "Good slides - not good work". Judges choose by the appearance of the slide. They have no way to determine whether this faded underexposed image of your best work represents something positive, or hides something unacceptable. The first effort should be to make the quality of the work the subject. Don't make them guess whether it is your work that is bad or just the photography. This is true of each item under discussion.

In web design, if your medium is 2-D, 3-D or digital, the same rules apply. Not only does the presentation have to be clear and bright, but it must load quickly and show all the salient points you wish to be reviewed. Detail blowups on the computer or on the slide sheet are for demonstrating peculiarities, which cannot be seen in the smaller version. Too many artists use them as a substitute for volume in a presentation. Remember, the judge knows that you are exchanging a possible additional image for another view of the first. Make it worth your while.

Balance the content of your presentation. Show what you are capable of doing and your focus of interest. Provide samples of your diversity and excellence. If you have something that is obviously weaker, leave it out of the presentation. More is better only if it is also good.

Be sure to consider what is normal for this presentation form. Know what they expect as a format and give it to them. Let the work provide the difference between your presentation and the next. Let the work provide the impact and stack the presentation for the greatest impression. Don't be the first or the last to use a new technical change in the medium, but do it early and do it well.

Artist Materials to bring for discussion- Optional: 20 slides, art-work, presentation samples

.[Course Related Biography. I applied to graduate school in 1988. I made the first cut 9 of 250, but not the second – 4 of 9. I pestered the head of the graduate school to ask the faculty committee why they had turned me down. I modified my portfolio and submission package and was accepted the next year. While inside the MFA program, I volunteered to help with the submission packages for the faculty selection committee and had the opportunity to see how the process works. I have been juror and on selection committees since that time, and have spoken to jurors of all manner of schools, galleries, state and county arts commissions and Museums about their selection processes. This course is the result of that research. I have information you need.]