‘Art for Timor’ Registration Form Tips

Some artists have experienced difficulties in completing the ‘Artwork Details’ component of the registration form. GVFS have received questions specifically about the ‘Recommended sale price’ and ‘Passage about your artwork’ components. Below is some advice.  

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Tip 1. Determining your sale price

If artists wish to list their artwork for sale in the “Art for Timor” art show, they will be asked to provide a recommended sale price. There really are no rights or wrongs in how you determine your sale price. In a professional context, art is usually priced by the artist. Artists will price their works according to what they feel it is worth. The GVFS understand that many entrants may not be experienced in pricing their work. As a result, we just ask that artists make an attempt. The GVFS Committee may adjust the price (with permission) closer to the opening night. When considering your artwork price, remember to firstly think about how much your materials cost. Then think about how much time you spent on the artwork. Finally, consider how much you would theoretically pay for your artwork. This should determine a fair price. Sometimes is helps to research other artists price points who create works of similar size and medium.

Case study example:

Title: Echinacea Valley

Medium: Soft pastel

*artwork not related to ‘Art for Timor’

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This pastel artist produced a simple floral piece in about 60 minutes using reference images they previously took at a garden exhibition. The materials roughly included: 1x pastel pencil (very small amount) an A4 sheet of coloured pastel paper, 11 different pastels (total equivalent of 1/10 of a pastel stick), 30cm of masking tape and A5 frame with included matte board from Target.

The recommended price for this artwork might be: $16.00

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Tip 2. Writing your artist’s passage

Writing a passage about your artwork can be difficult to do with a limited word count. GVFS suggest that artists use this opportunity to describe the subject of their artwork, explain how their artwork links to the theme and or an explanation about the source of their inspiration. Artists might also like to convey a message through their artwork. This could also be described through the artist’s passage. When writing the artist’s passage, artists are encouraged to focus on what they would like to share/explain to their audience.

Case study example:

Below are two examples of an artist’s passage written to reflect two different focuses. Both would be suitable to accompany example artwork below.

Title: Timor Horse

Medium: Black and blue ballpoint pen on white paper

‘Art for Timor’ Theme: The Life and Land of Timor-Leste

 A)

“During my visit to Timor-Leste in 2013, the unique landscape was one of the first things I noticed. In 2013, the drive to Viqueque was a day long trip by car. This gave me the opportunity to spend a lot of time looking out at the stunning views and observing typical Timorese scenes. Once we reached the outskirts of Baucau, I began to notice the horses calmly grazing in the fields. Horses in Timor look quite different to horses typically seen in Australia. They’re different in shape and stature. I was particularly intrigued by the way in which they moved. They seemed both calm and careful in their movements. Being a smaller stature also appeared to make them lighter footed.” (120w)

*In writing their artist’s passage, the artist decided to focus on their inspiration for their artwork. The link to theme is inferred through the description of the subject and title of the artwork.

B)

“As someone with a Timor-Leste connection who is a beginner artist, I was delighted to hear of the ‘Art for Timor’ art show. I wanted to contribute but felt I had limited materials due to the lockdown in April, 2020. Upon reflection, I realised that I was still extremely fortunate to have what most Australians would consider “basic materials”. Many Timorese people have very little physical materials and resources. Despite this, they practice gratitude and give so much to others. I decided that I should too show gratitude for my fortunate lifestyle and create art with the materials I had at this time. I believe anything can be turned into art.” (114w)

*In writing this artist’s passage, the artist decided to focus on the message they wished to share with their audience. The artist described a lesson they learned from the Timorese as they prepared to enter in the ‘Art for Timor’ art show. The title of the artwork ‘Timor Horse’ shows link to the theme.

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Tip 3. Photographing your artwork.

The GVFS Committee have asked artists to include a photograph of their complete artwork in their registration form. This photograph will greatly aid the Committee and Rachinger Gallery in planning the exhibition layout and producing an exhibition guide for attendees. The GVFS have some advice that may help you when photographing your artwork.

Remember to photograph your complete unframed artwork. Photographs of framed artworks will often show glare which will distort/block part of the subject. If you wish to present your artwork with a frame, you can still place the matte board and/or frame over the artwork without the glass. Also consider the lighting in your space prior to taking a photograph. The best lighting conditions for photographing artwork, include a room or outdoor setting with indirect natural light. A bright, overcast day is a good example. With smaller artworks, remember to also take the photograph from a bird’s eye view angle. If the artwork is placed on a low and flat surface, this will be easier for the photographer to accomplish.

Case study example:

The image on the left is a good example of a photograph taken in bright, natural light from a bird’s eye view angle without the frame or glass. The image on the right is a poor example. This photograph was taken at a 45 degree angle under artificial light. The artwork was also presented under a frame and glass which resulted in glare and a distorted image.

Olivia Jackson-Corbeil

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