Exposing Craft

Exposing Craft A Practical Guide to organising and running Craft Exhibitions Hilary Morley

A Crafts Council of Ireland Document First Published 2001 with title ‘Making an Exhibition for yourself’ Re-launched 2008 in digital format with new title ‘Exposing Craft’ While every care has been taken in the compilation of this guide, the Crafts Council cannot accept responsibility for any errors or omissions.

Cover Image courtesy of Michael Ray, Glassmaker. t. 023 48069 Crafts Council of Ireland, Castle Yard, Kilkenny, Ireland t. 056 7761804, f. 056 7763754 e. info@ccoi.ie w. www.ccoi.ie Page 2

Table of Contents Forward

3

1

Why Exhibitions?

4

2

The Exhibition Proposal

6

3

Sourcing Funds

8

4

Down to Business

12

5

Attracting Media Attention

13

6

The Catalogue

14

7

Display, Lighting & Print

16

8

Exhibition Documents & Pricing

20

9

The Opening

22

10

Day to Day Operations

23

11

The Tour

24

12

Seminars, Events & The Web

25

13

Ten Steps to Success

26

Bibliography

27

Appendices

28

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Forward

Makers derive considerable satisfaction from the very making of their work. But few see the creation of a bowl, a necklace or a rug as the end of the process; they want to go further and show their creations to the world. But exhibiting your work takes courage, energy, knowledge and resources and makers may feel that their creative talents are best directed towards producing the work.

This aptly titled guide, written by Hilary Morley and published by the Crafts Council of Ireland, is designed to encourage both makers and others to organise exhibitions by providing practical advice which applies to all exhibitions, irrespective of their scale, style and location. It does not pretend that organising an exhibition is something that should be undertaken casually, rather it seeks encourage by demystifying the whole process by offering practical advice about all aspects of arranging a show.

It describes clearly all stages of planning and organising a show. It emphasises the need to do the rigorous preparatory work such as defining a theme, deciding on the selection process, finding a suitable venue and securing financial support. Though this may sound like a tall order, often all that’s required to make it happen is time and a few committed individuals. By planning far ahead and knowing what needs to be done the organisers can enjoy the task, instead of wilting under the unnecessary pressure of too tight a timeframe.

In the past, when it came to organising exhibitions, the lack of a suitable venue might have proved an intractable obstacle. But in Ireland today, there are arts centres in almost every county as well as local museums and community centres; these are supplemented by a wider range of commercial galleries. Even if the venues themselves are not physically suitable or are unavailable their staff members are usually helpful sources of knowledge and advice. It can also be productive to explore venues other than the traditional ones, for example shops, workplaces, local authority offices (a number are the recipients of architectural awards). Exhibiting in these locations can bring craft to people who might not otherwise see it.

As always, good timing will bring benefits. Planning an exhibition to coincide with the plethora of festivals and special events in Ireland’s calendar provides a platform which exhibitors can use to attract new audiences. By being part of an official festival programme an exhibition will also enjoy the advantage of extensive media coverage.

Exhibitions are a good thing because they make craft more visible. They are good for makers because they challenge their creativity and provide a context in which work can be constructively discussed and they work for the public audience because they expose them to distinctive work in an accessible way . The response to exhibitions in established venues like the National Craft Gallery run by CCoI in Kilkenny and Farmleigh in Dublin indicates that the public is delighted by work of quality and wants to see more of it. The more they see, the more they will learn about it and the more they will want.

Let us therefore take this guide at its word and go forth and expose craft to an audience that is eager to see it and touch it.

Mary Gallagher, Chairperson, Exhibitions Advisory Panel, Crafts Council of Ireland

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1 Why Exhibitions?

“It is very important to remember that a collection of objects does not make an exhibition. It is only when objects are carefully chosen to illustrate a theme and tied together by a narrative or other relational threads that they become an exhibition” - Martin Kalfatovic.1

T

hrough exhibitions, artists and makers can experiment and explore their creativity without the pressures and limitations of a purely commercial environment. They are an invaluable forum and opportunity for artists and makers to stretch their imagination, experiment with new designs, materials and concepts and generally take some chances.

The visiting public loves the opportunity to see objects which are different from those that they see in large quantities elsewhere.

They learn from this exposure to appreciate the skill and personality of the maker as expressed in the object. Exhibitions should present the viewer with all kinds of visual and creative challenges that extend the mind and encourage people to think in a whole new way.

It is usual to have a theme for an exhibition. This should ideally be something that relates to the selected work, as the artist and curator(s)2 will need to write and talk about it confidently and convincingly. By providing a context for the work, they assist the viewer’s understanding of it. Themes can vary enormously, like the title to a book, it is important to try to be inventive and create one’s very own original. Exhibitions can have themes related to: current affairs, a particular object/place/person, emotions, personal experience(s), particular crafts/skills, new dimensions… the list is endless. Some examples illustrate the scope: A Sparkling Party - Dublin An exhibition of glass & silver sculptural objects.3 A Horse of an Exhibition – Galway An exhibition of equine ceramics and paintings.4 European Baskets – Kilkenny An exhibition curated by two basketmakers representing, in a most exciting way, a traditional skill through both tra ditional and contemporary objects.5 Though a good exhibition will elicit a range of emotions and reactions from its viewers, in most cases, an exhibition will aim for one particular effect. Some types of exhibition effects that you may wish to consider are: Aesthetic. Exhibitions organised around the beauty of objects Example: ‘to hold’ – an exhibition of ceramics, concentrating particularly on the vessel ‘whether it holds dreams, light, melancholy or a cup of tea’.6

‘Creating a Winning Online Exhibition’ by Martin Kalfatovic see bibliography p. 27 The role of the curator is defined on p.12 Silversmith Kevin O’Dwyer at Eblana Gallery, Dublin 2008 4 Judy Greene’s Shop & Gallery. This exhibition takes place annually during Galway Race Week.

5 Curated by Joe Hogan & Mary Butcher, National Craft Gallery Kilkenny 2008 Page 4 6 Curated by Peter Ting, Farmleigh Gallery 2006 1

2 3

Emotive. Exhibitions designed to illicit an emotion in the viewer Example: ‘Apocalypse: Beauty and horror in contemporary art’: an exhibition of works by young British artists.7 Evocative. Exhibitions designed to create an atmosphere Example: ‘Gardens’: In this memorable show the curator transformed the gallery space into a magical garden which incorporated the work of makers creating outdoor objects.8 Didactic. Exhibitions constructed to teach about something specific.

Example: ‘Women War Photographers’. This show explored the hardships of post-Taliban Afghanistan, through the work of five of the world’s leading woman photographers.9 Entertaining. Exhibitions presented to provide amusement & sometimes audience interaction Examples: ‘Playthings’: an interactive children’s exhibition created with the aim of widening the experience of art in the lives of children.10 ‘Soundshapes’: an exhibition which brought artists and sound makers together to create objects which could be used for performance by the visiting public and professional performers alike.11

Royal Academy, London 2000 Crafts Council of Ireland HQ, Powerscourt Townhouse Centre 1994 Galway Arts Festival 2007 10 National Craft Gallery, Kilkenny 2003 11 Galway Arts Festival/Arts Council & National Craft Gallery 2002/3 7 8 9

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2 The Exhibition Proposal

B

efore organising any exhibition, it is vital to have written down all your ideas in an Exhibition Proposal, particularly if you intend sourcing funds for the project. Funding agencies may require that you fill out a standard application form, but it is extremely useful to take time to work out thoroughly the concept of your exhibition thoroughly in a separate document. Not all funding agencies provide application forms.

Here is a useful checklist: ! What is my theme? (see important note*) ! What types of objects are required? ! What is the mechanism and criteria for selection of exhibits? ! How do I plan to fund this exhibition? ! Which requirements, if any, might my funders have in this regard? ! What are my staffing requirements? ! Do I plan to tour this exhibition? ! What sort of timescale is required for selection, set-up, duration(s), take-down, etc. ! What venue(s) do I plan to use? ! Why will this be a successful exhibition?

*IMPORTANT NOTE: You need to be able to articulate why it is you have selected particular artists or works for your theme. How does their work relate to the overall theme. Is it through the materials they use, through the forms they make or through subject matter? Writing about the theme and the selected work will be an important part of your exhibition proposal so it is important to be clear and knowledgeable about it.

An Exhibition proposal is written under the following four headings: Introduction 1.

Brief description of proposal.

Introduction of exhibition personnel.

Detailed description of Exhibition 2.

Write approximately a page of detailed information about the exhibition and includes any extra activities that you will

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be undertaking. You can also use this section to ‘hard-sell’ the idea - i.e: why have this exhibition.. who/what will benefit. You can also include a list of possible exhibitors or types of exhibitors.

Exhibition Schedule 3.

This is essentially a timetable that is written to put organisation and timing on each required activity (see sample schedule p.13).

Draft Budget 4.

This is divided into 2 sections – Expenditure & Income - see below:

Types of Expenditure:

Types of Income:

Curators Fee / Time

Agency Funding

Exhibitions Assistant’s Fee / Time

Sponsorship

Invigilators Fee / Time

Commission on Sales

Exhibitors Fees (not always applicable)

Costs covered by tour venues

Catalogue/Invitation/Posters/Logo Design & Print

Catalogue Sales

Photography

Funds raised from special events

PR and Associated Costs

Other

Launch Costs Opening(s) Costs Insurance List of Other Expenses: Travel of Exhibits (usually applies to touring shows only) Travel expenses of Personnel Accommodation Food Telephone Post General Office

IMPORTANT NOTE: In order that the funding agency takes you seriously, it is important that you have considered how you intend to fund your expenditure. Most agencies like to see that you plan to source funding from other sources – e.g. other agencies, corporate sponsorship, sales revenue, etc.

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3 Sourcing Funds The Principal Sources of Funds available to support exhibitions that display and promote crafts are:

Crafts Council of Ireland Arts Centres / Galleries Corporate Sponsorship Arts Festivals The Arts Council Local Agencies

Crafts Council of Ireland.

‘The Crafts Council of Ireland (CCoI) is the main champion of the craft industry in Ireland, fostering its growth and commercial strength, communicating its identity and stimulating quality design, innovation and competitiveness. CCoI's activities are funded by the Department of Enterprise, Trade and Employment via Enterprise Ireland’. The National Craft Gallery is the Crafts Council of Ireland’s flagship exhibition space, which was opened in 2000 and is an outlet where craftspeople can develop new and innovative designs. The NCG has a year-round national and international exhibitions programme In order to receive support for an exhibition, all exhibitors must be registered with the Crafts Council of Ireland. It is important to contact the Exhibitions Programme Manager and enquire about submitting proposals for exhibitions. It is important to note that exhibitions are planned up to two years in advance.

For further information contact: Crafts Council of Ireland, Castle Yard, Kilkenny.

Tel 056-7761804 Fax 056-7763754 e-mail: ncg@ccoi.ie website: www.ccoi.ie Art Centres & Galleries The Arts Council can provide a list of the Art Centres and Galleries which it supports in Ireland12 .

For further information contact: Arts Council 70 Merrion Square, Dublin 2. Tel 01-6611840 Fax. 01-6761302 Art Centres - these are funded in part by the Arts Council. They all operate in slightly different ways when assisting exhibitions. Payment for the exhibition, in the form of a nominal fee is recommended but not obligatory and is made at the discretion of the individual venue. It is common, however, that an Arts Centre will cover the cost of the invitations and the opening.

Art Galleries - these can range widely between public and private, town halls, cultural centres, museums, libraries and theatres. In the case of private galleries, the choice of exhibitions is at the discretion of the owner and arrangements regarding opening costs, commission on sales, etc. are usually agreed on an exhibition-by-exhibition basis.

Always allow ample time to prepare your application well and to have supporting material ready well ahead of closing dates. Unless specified, applications to these agencies are generally made using a standard form. Although these application forms do not always suit the presentation needs of specific projects, they do nonetheless provide a standard baseline for the funding agency. It is always possible to accompany the form with supporting documentation, illustrations, etc. Make sure that you supply the information requested and in the format specified. In other words read the question!.

12

These are included in the listings in Appendix 5 p.34 & 35

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Corporate Sponsorship Preparation is the key to stretching the purse-strings of the corporate sponsor. Remember that most businesses budget annually but you need to find out whether their financial year observes the calendar year so that you can time your request appropriately. Start by thinking locally. Local companies are more likely to consider your proposal than large multi-national organisations. Raising corporate sponsorship can be extremely labour-intensive but highly rewarding.

Do not be afraid to use personal contacts but be prepared to submit exactly the same material to those companies you know as to those you do not. Rather than sending your request to a generic “Marketing Manager, it’s always better to find out the name of the person who deals with these requests. A quick phone call will give you the answer.

Assume the following: 1. Your letter is one of 20 begging letters sitting on the company manager’s desk.

2. The first reaction of the manager will either be to bin it, or if you are lucky ask: “what’s in this for my company?”

3. The receiver likes ‘the taste of a carrot’ and a choice of sponsorship options.

1.

To make progress your application must stand out. Otherwise it will go in the bin.

Instead of a letter, why not design a colourful card with strong imagery and bullet points that can be read quickly.

For example: ‘Be part of the most exciting event of the year!’

‘Increase your company’s profile at very low cost!’

‘Be part of the creative spirit of Irish Craft!’

Try to present your exhibition proposal in a way which strikes a chord with the potential sponsor. They may have a reputation for a particular skill which may link well with your show. Do your research thoroughly.

2.

Satisfy the “what’s in it for my company?”

Tell the company how they can benefit. For example you could offer a variety of benefits based on the level of patronage. (see table below)

Design Patron - €2000

Craft Patron - €1000

Patron - €500

Invitation to Press Preview.

Invitation to official Opening.

Invitation to official Opening.

Photo-call with exhibits prior to Opening.

Credit in Exhibition catalogue.

Photo-call with exhibits prior to Opening.

Invitation to official Opening.

Presentation exhibit for your reception area.

Credit in Exhibition catalogue and on Patron’s Board at venue.

Credit in Exhibition catalogue and on Patron’s Board at venue.

Credit in Press Releases to local and national press.

Credit in Press Releases to local and national press.

The ideal situation to find oneself in, is to win the heart of one large sponsor. However, the reality is, that with most events that are sponsored by corporations, a very small proportion give large single donations. Most of the donations are small. It is important, therefore, to give your potential sponsor an option to give a lesser amount, rather than lose them altogether (i.e give them different ‘price’ options as in table). Many exhibition organisers will find that for subsequent exhibitions, some of the smaller sponsors recognise that their earlier support enhanced their standing and will increase their donation considerably!

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Securing the Sponsorship It is vital to follow-up all mail-out requests with a phone call. If you really want the sponsorship, call in person to the office, but make an appointment beforehand. Again, it is important to remember at all times to BE PROFESSIONAL. Clarifying details of sponsorship.

However valuable it is to acquire sponsorship from an organisation, it is important to clarify what responsibilities the exhibition carries as a result. It is also very important to select sponsors carefully. It would be highly unsuitable, for instance, to ask a non-biodegradable nappy manufacturer to sponsor an exhibition entitled ‘Protecting our environment!' It may also be important not to seek sponsorship from competing companies – e.g. rival car dealerships or supermarket chains.

We have already discussed how to acknowledge the sponsorship through special invites to the opening, photo-calls, etc. However, be very clear about your sponsors’ expectations (some may even provide leaflets outlining their funding policies). Be prepared for the following:

• Use of sponsor’s logo – how is this done – where is logo to feature? (Companies are very • • • •

zealous about the correct reproduction of their logo and will usually be happy to supply an electronic version. Also ensure that you get the name of the sponsor correct!)

Display boards/advertising material or pamphlets – will exhibition have to display these?

Will selection of an exhibit or exhibits be determined by sponsor?

Will sponsor require photo-call to record handing-over of cheque?

When will the sponsor allow drawing-down of money?

Sponsorship review Once the event is over it is important to review it with the sponsor to see if it worked for them. They may have some suggestions about how it could be improved next time.

Most businesses are more than happy to contribute to the social and cultural life of their community. They do not necessarily expect to secure more business as a direct result of supporting your exhibition. (In fact many large companies manage this contribution very explicitly as their Corporate Social Responsibility). This means that you may be pushing at a door that is already open, since many businesses are very willing to contribute to and support cultural activities.

However, they need to be sure that being associated with your event will enhance their reputation.

IMPORTANT NOTE: If a sponsor is unable to make a financial contribution, you may find that they can help in other ways. For example they may have resources which they would allow you to use such as design skills, printing and transport. The provision of “in-kind” support like this is just as valuable as money.

Arts Festivals More prominent Arts Festivals such as Éigse Carlow, Earagail, Galway and Kilkenny Arts Festivals are funded by the Arts Council. However, corporate sponsorship also makes up a very significant part of their funding. You should take note, therefore, not to approach companies already funding the Festival. This will cause annoyance and frustration.

Approaches to an Arts Festival should be made at least 12 months in advance of the opening date. It is important to get the name of the Artistic Director or Festival Manager and send them a forwarding letter, exhibition proposal and draft budget. Generally Arts Festivals like exhibitions that have a wide appeal and will make good press. Your ‘sales pitch’ is therefore extremely important in terms of underlining how your participation will enhance a festival.

Arts Councils 1. The Arts Council of Ireland and is the development agency for the arts in the republic. It receives grant-in-aid annually from the Government to carry out its statutory functions. The Arts Council is charged with “supporting the creation and dissemination of the work of Irish artists in all creative and interpretative disciplines, and of promoting the maximum possible public access to and participation in, the contemporary arts.”

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The Arts Council has a very informative booklet (also available online) entitled ‘Support for Artists’13 which outlines its criteria for assessments of awards for individuals and organisations. For further information visit www.artscouncil.ie.

Note: In general, the Arts Council supports individuals who are professional artists – i.e. who’s output does not pertain to heritage, craft or design. However, they have been supportive of collaborative projects in the past.13A 2. The Arts Council of Northern Ireland is the lead development agency for the arts in Northern Ireland. They are the main support for artists and arts organisations, offering a broad range of funding opportunities. Under their Project Funding scheme, they aim to assist organisations to deliver arts projects which contribute to the growth of arts in the community for new and existing audiences and which reflect the diversity of Northern Ireland’s society and culture. see: www.artscouncil-ni.org Other Sources 1.

Commission on Sales In an ideal world, all exhibits in the exhibition will sell and exhibition organisers can allow for this in the construction of their budgets. However, it is recommended that sales commission be omitted from financial considerations unless organisers are very certain that sales will be strong. To begin with, most galleries will look for a commission towards their costs and once you expect sales to occur, they have a bad habit of not occurring!

2.

Advertising Some exhibitions offer advertising opportunities to local companies who might wish to place display ads in the catalogue. This may not raise a lot of funds but may help towards printing costs. It is important to consult with sponsors to avoid any confusion or misunderstanding.

3.

Local Authorities It may be beneficial to approach your local city or county council, particularly if your exhibition fits into the remit of one of their activities – i.e. Housing, Waste disposal, Planning, Streetscapes, Environmental development, etc. Many local authorities have an Arts Office which can be a very useful source of advice and information. Some local authorities have a fund which is allocated to community development; this is often a productive source of funding for one-off events.

Just make sure you are aware of the deadlines for applications.

4.

Local County & City Enterprise Boards and Leader Groups.

Sometimes these organisations can be very supportive - particularly if the exhibition involves a number of local craft businesses.

5.

EU Funding This has proven to be an interesting source of funding in recent years, particularly in relation to regional cultural and artistic exchange13B. 6.

Spark Plug Curator Award - Crafts Council (UK) For NI residents, the Spark Plug Award aims to provide each year a minimum of four selected curators the opportunity to develop an ambitious and innovative exhibition project. Each award consists of a fixed fund of £5,000 and lasts for the fixed period of one year of research activity, during which time the awardees are required to research and develop an original exhibition project. see: www.craftscouncil.org.uk 7.

Fund-raising event It is sometimes well-worthwhile to organise a special event to raise funds for a project – holding a raffle for a prize selected from the exhibition can work very successfully.

8.

Skills and gifts-in-kind As mentioned before, one should never under-estimate the value of services that may be sourced free-of-charge. For instance, if you are organising a group exhibition, the makers and artists might agree to staff the show on a rota-basis.

In terms of preparing the gallery space, a local hardware shop may offer a few litres of paint or larger exhibition venues such as arts centres and educational institutions may provide staffing to help with security, lifting and hanging.

IMPORTANT NOTE: One thing to remember about receiving any kind of funding or sponsorship, it is very important to say ‘Thank-You’. Include the names of your sponsors in all printed material and mention them by name in the speech at the Opening(s). It is a very good idea to take some photographs of sponsors with exhibits – these can be used in the exhibition’s press campaign. see Bibliography p.27 The exhibition ‘Soundshapes’ (Galway Arts Festival 2002) was supported by the Arts Council as it encouraged collaboration between makers, artists and music composers.

13A examples include EU Programme for Peace & Reconciliation, EU Interreg IIIA 13

13A

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4 1. Tasks 2. Schedule

Down to Business

1. Tasks The following tasks are carried out in the organisation of a successful exhibition: !"Management – this involves the drawing up of a proposal schedule and budget for the exhibition, liaising with the exhibitors, appointing a curator, organising jurying and selection of exhibits, security, staffing and managing overall progress. !" Curation - the curator is involved in the selection and design of the show and looks after layout and lighting. He/she can also write and edit the text for the catalogue. !"Selection– In many cases, it is the prerogative of the curator to select work for an exhibition. In the case of the National Craft Gallery and other funding organisations, the advice and assistance of an exhibitions or gallery manager may be mandatory. A selection panel is another option, whereby the expertise and knowledge of field experts is sought to secure a successful exhibition of work. Submissions can be assessed in terms of their innovation, quality, price point, appropriateness to exhibition etc. !"Administration – includes typing, mail-shots, phone-calls, collection of address lists etc. !"P.R. – preparation of press release14, attracting press interest, liaising with media and ordering photography. ! Invigilation – this can be the key to the success of your exhibition. It is, in effect, the ‘manning’of the exhibition while it is open to the public; i.e. talking to visitors, dealing with sales and explaining the concept of the exhibition. ! Accounting – drafting of budget, set-up of exhibition bank a/c (where necessary), organisation of petty cash, cheque payments and lodgement of funds, etc. ! Odd jobbing – distribution of posters, pricing of exhibits, purchase of visitors book, pens, red stickers, etc.

2. Schedule All schedules will differ according to the type and extent of the exhibition15. The elements of the schedule are outlined below. This can serve as a useful checklist.

Task

Date

Task

Exhibitors Advertise for exhibitors Selection of exhibitors Deadline for completion Deadline for photography

Catalogue & Printing Text / Editing Layout & Print Posters/signs/sponsorship boards/invitation cards

Insurance All values to Insurers Open & Close dates

Publicity Preparation of Press Release Distribute Press Releases Follow-up calls

Transport & Installation Collection Points Delivery to Venue Unpacking Set-up Take-down Re-pack Returns/Delivery

14 15

Official Opening Compile guest list Wine/refreshments Contact guest speaker Take Down Notify exhibitors Letter of thanks to sponsors, exhibitors, venues, etc.

see sample of press releases in Appendix 2 p.30 & 31 To read through the schedule of a fictional exhibition see Appendix 1 p.28

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Date

5 Attracting Media Attention

B

y winning press space, you are not only promoting the exhibition to potential visitors and customers, you are also building an invaluable profile for the show – i.e. press gives the show credibility, value and a huge sense of worth. In order to achieve a successful press campaign, it is vital to prepare in advance.

Take these steps to prepare a generous quantity of press packs: (i) – Compile a target press list16: Newspapers (Local/National), Magazines, Radio (Local/National) and T.V. Include this list on your invitation list for the opening(s). (ii) – Photographs are vital. Pictures do speak a thousand words! Professionally shot high resolution digital images or transparencies are preferable to prints, especially for use in glossy magazines. Newspapers are happy to accept prints, transparencies and digital photography. Label everything clearly with name of exhibit, exhibitor and return address.

Please note: digital photographs or images should have a resolution of 300dpi minimum and are usually acceptable in either jpeg or tiff formats. (iii) – Press release17. This should not be longer than one page. It should describe the exhibition, name the organisers, exhibitor(s) and sponsors and give details of the venue(s) and opening(s). (iv) – Catalogue. Ideally, the catalogue should be ready in time to send out in press packs. (v) – Timing. Time the distribution of the press-packs carefully – it is important not to send them out too late, but equally important not to send them out too early!

Follow-up every press-pack with a phonecall. Have all exhibition information to hand to answer any questions. (vi) – Calendar the event. Many daily newspapers, TV/Radio programmes and websites have sections that list events that are currently happening. Examples include RTE’s Nationwide, RTE News, Local radio station event slots – e.g. Tipp FM, 104 FM, Clare FM, Mid-West radio, etc. and websites such as www.visualartists.ie. (vii) - A Press Launch. This is a very clever way of attracting attention for the exhibition and opening. You can invite local press photographers, or organise a photographer of your own to take interesting shots of exhibits for distribution to press in advance of the opening. (viii) - A Press Opening. This is another way of getting attention from the media. You may like to invite your sponsors along for a photo-opportunity.

IMPORTANT NOTE: If the exhibition enjoys media coverage, prepare a press-folder that can include articles, interviews, reviews, etc. This can be placed in the exhibition venue or can be used to sell the exhibition to other venues/galleries. Remember also to send copies of press coverage to exhibition funding agencies and sponsors.

16 17

See Appendix 5 p. 36 See press releases Appendix 2 p.30 & 31

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6 The Catalogue

T

he production of a catalogue is an important element of any exhibition. It stands as a valuable record of the exhibition and can explain the reasoning behind why it took place. It also gives the visiting public and media detailed information about the exhibition. Catalogues come in all shapes and sizes, depending on budget.

The following points should be considered in the creation of a catalogue:

Contents

Images

Layout and Design

Selling Price

ISBN

Contents Here is a list of the pages required for the standard exhibition catalogue: ! Sponsorship Page - IIf the exhibition is sponsored or funded by corporations/agencies or individuals, their names and logos should appear towards the front of the catalogue – inside the front cover or first page is best. ! Title Page -This includes the title of exhibition, and name of organising body and/or curator. e.g: ‘Weave-ho’- an exhibition of handmade scarves.

A Mitchelstown Craft Network exhibition.

Curated by Jake Mac Thomas.

If you have confirmed the exhibition venue(s), you can also list them on this page with the relevant dates. ! Table of Contents Page - This page should include the following titles:

The Organisers Introduction The exhibitors/participants Biographies Acknowledgements

!"The Organisers Page - This gives information about the organising body/group/network – i.e. aims and achievements to date, background information, etc. It may also mention the curator/principal organiser(s) and describe their background and achievements. This page should also include a contact name, address, tel./fax., e-mail and website. ! Introduction Page - This introduces the exhibition itself – the reasoning behind it’s inception and an outline of the brief sent to participating exhibitors. The text should encapsulate the essential features of the show – its theme, the range and quality of participants, any distinctive features such as special guests, particular exhibition style etc. All of this will assist the visitor’s appreciation and understanding of the exhibition and the work displayed. ! Essay - At times, exhibition organisers invite somebody to write an essay or extract for the catalogue which may involve personal connection or interest in the exhibition theme or participants. ! The Exhibitors’ Pages - The main body of the catalogue should be given over to the description of exhibits and quotes from the people who made them. The length of this depends on the size of the show, catalogue and budget. ! Biography Pages - A short biography is written about each exhibitor. These can stand as a separate section of the catalogue, or if budget/space restricts, they can be added on to the end of the exhibitors’ section. ! Acknowledgements Page - This section is usually used to thank individuals or organisations who have been of assistance to the exhibition and its organisers. Names include those of designers, photographer(s), technicians, performers, venue managers, etc.

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IMPORTANT NOTE: Allow sufficient time to proof-read the text at least twice and check photographs. It is often helpful to ask someone not directly involved in the organisation of the exhibition to check the text as you may be too close to see even the most obvious error. Make sure that use correct spelleings and that dates and times are accurate.

Images It is important that the exhibits be photographed. This can be arranged by choosing a delivery date a month or so prior to the exhibition opening and employing a photographer to come along to the venue. Exhibitors that do not deliver can be asked to submit sketches… indeed, if the exhibition budget or time is restrictive, sketches can be used as an alternative to photography for the catalogue. However, investment in photography is generally seen having a greater return in press-terms.

Layout and Design Again, budget plays a large part in determining how much is spent on layout and design. Graphic designers can be expensive, but will ensure a very professional finish. . If budgets are tight see if you can, at least, create a ‘brand’ or ‘logo’ for the exhibition. Note: most personal computers have publishing packages that are very suitable for the production of the above if budget is limited.

If you are getting the catalogue professionally printed, it is very important to shop around for more than one quotation as prices can vary enormously. Some printers do provide a graphic design service that can be built in to the overall print-cost. This can be a very cost-effective way of producing a professionally finished catalogue.

Selling Price Some museums and galleries give away their catalogue free of charge – however, it is more advisable to charge at least a couple of euros. You may like to charge a lot more to cover costs but it is generally known that exhibition catalogues do not sell well at a high price. Better to have the catalogues out amongst the masses at a lower selling price than stored in boxes for eternity.

ISBN If you organise a lot of exhibitions and plan to publish over ten catalogues over a period, you can apply for an International Standard Book Number which is a 13-digit number that uniquely identifies a specific edition of a book. An ISBN provides access to Bibliographic Databases online, which are organised using ISBNs as references. These databases are used by booksellers and libraries to provide information for customers and researchers etc. You must apply to the ISBN Agency for the UK and the Republic of Ireland and a small fee applies. The process can take up to 14 days. Details of this procedure are available from: The ISBN Agency Ltd., 3rd Floor, Midas House, Woking, Surrey, GU21 6LQ, UK or: www.isbn.nielsenbookdata.co.uk

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7 Display, Lighting & Print Display The way in which any exhibit is displayed is almost as important as the exhibit itself. It is important to consider the following: Do not crowd the space – allow each item room to breathe. As an exhibition planner, you should try to predict the rhythm and movement of people through the space. There is no magic formula pertaining to distance between exhibits, however, it is good keep one object per field of vision so as not to overpower the viewer. If items are free-standing or sitting on plinths (pedestals/display stands) always remember to allow enough space for wheelchair and buggy access. As you are laying out exhibits, consider some of the following: - How does your eye travel around the space?

- Do the sizes and colours of exhibits interact well with one another?

- How do items look when you walk in through the door?

(Generally, larger, dominant items should be carefully considered and placed where they do not detract from other exhibits and remember; if the room has more than one entry-point consider the visual impression achieved at each one. Large windows and those at ground-level may also need to be considered.)

Exhibits that need to be hung: If exhibits need to be hung, it is important to check with venue(s) if they permit hammering of nails into walls. Nongallery spaces such as foyers, old buildings and shopping centres are sometimes unable to accommodate the hanging of work. In such cases, it may be necessary to have false walls or partitions specially made to hang exhibits. Be careful to assess the weight of exhibits so as to allow for suitably heavy partitions and hanging equipment and accessories.

Exhibits that are free-standing: Although this may seem like the easiest exhibit-type to display, it is important to consider that free-standing exhibits are more prone to damage by passing visitors, prams, and small children. It may be necessary to consider rope barriers or very low platforms painted in white. These give the exhibits protective boundaries.

Exhibits that require display stands/cases or plinths: It may be necessary to make a sketch of the floor plan for an exhibition that involves display stands. It is important that a uniform and subtle design be chosen for the stands so that they do not detract from the exhibits. Choose as simple a design as possible. Angled shapes such as rectangles, cubes and hexagons are cheaper to construct and generally sturdier than cylinders or conical shapes. If exhibits need to be enclosed, it is better to use glass than Perspex. The latter tends to attract more dust, can dull easily and is very prone to scratching.

If you are touring an exhibition, it is a good idea to invest in stands and plinths that can be flat-packed for ease of transport and packing. If this is not possible, construct plinths from chipboard/MDF/plyboard and allow time for touch-ups and repaint before each new set-up. Some galleries, craft guilds and arts festivals may be in a position to rent their surplus exhibition plinths.

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Exhibits that require securely locked/alarmed cases.

These are amongst the most expensive display stands to construct. However, your insurers will insist on a high level of security. It may be necessary to order cases from a firm of display specialists. Never underestimate the intelligence and dexterity of a determined thief!

These types of exhibitions also require a lot of planning so as to avoid ‘blind-spots’ – i.e. so that the security guard or invigilator has full view of all exhibits from a single position in the room.

IMPORTANT NOTE. It may seem obvious, but creative design and display of an exhibition will be entirely wasted if the display stands and exhibition space are not kept spotlessly clean. Check all stands before and after the arrival of exhibits, for scuff marks, dirty finger-prints, dust and grime.

Remind staff to sweep the floor every day. Have a spare set of exhibit labels/price tags so that missing or shabby labels can be replaced.

Lighting Lighting is another critical element in any successful exhibition. Clever lighting angles give emphasis to exhibits and hide dull corners. Lighting can be natural or artificial, and the amount of each depends on the number of windows in the venue, time of year, budget, etc.

Natural Light.

Do not underestimate the value of natural light. Some exhibits, particularly sculpture, benefit from natural rather than artificial light. However, it is important to consider the damage that can be caused by natural sunlight pouring through venue windows, particularly if exhibits are prone to fading or drying out. It may be necessary to move exhibits or block off certain windows. It is possible to coat windows with a transparent gel which softens the light and the awareness of the world outside the gallery. Better known as ‘Gel-plating’, this technique is used widely in the conservation of historical objects.

Artificial Light.

Most commercial galleries and art centres will have lighting in place that is suited to exhibition use. If the venue has no lighting there can be a number of options put in place.

Commercial lighting companies can erect lighting for you or you may consult an electrician who will purchase the lights and install them. These options can be expensive so it is important to consider this extra cost at budget stage.

There are two main types of artificial illumination. Generally tungsten lamps18 are used as they are safe and do not emit ultraviolet rays. Consider carefully the strength of the bulbs and the distance of the lights from the exhibits. These lamps can become very hot and may cause damage if placed too close. Fluorescent lamps provide an even shadowless emission of light and are extremely economical. Since they cannot be focussed, they are best used for general lighting of the space.

tungsten lamps fall into two main categories: 1. Flood lights – these give a general light in one direction.

2. Spot lights – when focussed properly, these lights throw a long beam of light that gives very dramatic effect.

18

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What Lighting should I use?

Exhibit Type

Flood Lights

Tapestries, rugs, textiles

low wattage – avoids damage/fading

Ceramics

low/high wattage from front or side

Cut Glass Opaque Glass

Spot Lights

Special Lights

low/high wattage from front or side emphasises surface patterns and facets

low/high wattage from front or side

low/high wattage from front or side

Transparent Glass

Stand-alone wood, metal or stone

low/high wattage from front or side

low/high wattage from front or side

Jewellery

low/high wattage from front or side

low/high wattage from front or side

shown to best advantage on glass shelves made from frosted glass/Perspex, illuminated from behind by florescent tubing

Printed Matter.

Photography It cannot be stressed just how important it is to invest in professional photography for the exhibition and it is vital to make images available in large format on CD. Use these images at every opportunity to push for press space and give your printed matter visual and promotional effect.

Posters Posters are an extremely cost-effective way of promoting your exhibition. If your budget is restrictive, posters can be produced quite cheaply on a PC and colour-photocopied to A3 size if necessary. In selecting the size of your posters take account of where they will be displayed. A lot of shops and hotels prefer to display small flyers rather than large posters so it might be better to do a mix of printed material; a small number of posters (A4 if space is restricted) and a larger number of flyers. Most printers now provide a digital printing service which allows you to store your poster on CD and have it reproduced to photographic quality at a very reasonable cost.

Description/Price labels These are of paramount importance to your exhibition. There is nothing worse than visiting an exhibition that is poorly labeled. Be careful that the typeface that you use is of adequate size and clear so all visitors are able to read the labels.

If you want to be more creative, customise your labels on your personal computer using the exhibition brand.

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Signage General Signage This is very important in exhibitions. Examine your venue carefully – if there are steps in the building or the exhibition is upstairs, prepare A4 signs to inform your visiting public. Here are samples of signs that may be necessary:

Exhibition this way

We welcome children into this exhibition if accompanied by an adult.

Wheelchair users welcome.

Mind the Step!

Catalogues â‚Ź2 each

Please do not touch.

Sponsorship Boards These should be placed in a prominent position at the exhibition venue so as to attract as much attention as possible.

Often, the exhibition may have a bulletin board to notify visitors of other venues on the tour or exhibition events.

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8 Exhibition Documents & Pricing Exhibition Documents.

Exhibition Agreement An Exhibition Agreement19 is a piece of paper drawn up as a simple contract between exhibitor and exhibition organiser. Its main function is to have all exhibits clearly described and priced so as to avoid any confusion in the event of a sale. It also guards against any misunderstandings concerning numbers of exhibits.

Pre-exhibition Condition Report There should be a Condition Report20 assigned to each exhibit. This is to avoid any misunderstanding or confusion involving damage and breakages. This document is signed, ideally by the curator (in receipt of the exhibit) and the deliverer or person not connected to the curator (this might be the maker of object or delivery company). This process should take place immediately after the exhibit has been unpacked. If the exhibition is on tour, this process should be repeated at every venue.

Post-Exhibition Condition Report Again, there should be a Post-Exhibition Report21 assigned to each exhibit. This is also to avoid any misunderstanding or confusion involving damage and breakages. This document is signed, ideally by the curator (who is despatching the exhibit) and the collector or person not connected to the curator (this might be the maker of the object or transport company representative). This process should take place prior to the exhibit being packed for transport. If the exhibition is on tour, this process should be repeated at every venue.

Damage/Breakage Policy The exhibition organisers should have a clear policy on compensation in the event of damage or breakage. This can be ironed out with the insurance company.

Sale or Return Most exhibitions are run on a sale or return basis, i.e. if the exhibit is not sold, it is returned. Unlike professional or retail buyers, exhibition organisers do not generally buy the items. Occasionally, well-funded exhibitions work on a partcommission basis and pay a percentage of the cost of making to the exhibitor, but this is the exception rather than the rule.

Pricing There are several important elements to be considered when pricing exhibits: 1.

2.

3.

19 20 21

Cost Price – this is the amount of money that the exhibitor (maker) will require on sale of exhibit.

Mark-up – exhibition sales are rarely treated the same as retail sales. Mark-up is therefore less for exhibitions. The most common mark-up is 50%. To calculate this, simply multiply the net cost price by 50% and add the answer to the net cost price.

Selling Price – this is the amount of money that the customer pays for the exhibit. This is the price that will appear on the labels at the exhibition.

See sample in Appendix 3: p. 32 See sample in Appendix 4: p. 33 See sample in Appendix 4: p. 33

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VAT Most commercial galleries pay VAT on the mark-up, i.e. on the element of the price that is added onto the net cost price.

It may be necessary to consult with an accountant in cases where exhibitors are VAT registered or the gallery is not recognised as a gallery in its accounting systems.

Price Levels Deciding on the price of an exhibit is not an exact science! The exhibition organiser may feel that a price is too high or low. A discussion should take place at the time of delivery and here are some points that may be discussed: the effect of mark-up on the overall price, the amount of time consumed in production, types of materials and the pricing pattern of other exhibits.

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9 The Opening

A

n Official Opening should occur for each new exhibition venue. There are many advantages to having an official opening, some of which are: - A focus to attract public and media attention - A focus for selling work - A chance to network with potential customers and funding agencies - A chance to explain the concept of the exhibition

The Invitation List It can take a long time to compile an invitation list but it will be time well spent.

Galleries rarely share their lists so it will be necessary to start from scratch. It is important however to ask gallery administrators to cross-check lists so that duplication does not occur. Invitations should be sent out 8 to 10 days before the opening. The invitation list should include the following:

Exhibitors and Exhibitors’ lists (business contacts, families, etc.)

Funding Agencies and Sponsors and Sponsors’ lists All persons assisting the exhibition Press and Media Local media personalities / government ministers and politicians Funding agencies and sources that said ‘no’ Refreshments It is usual to have wine, juice and water served at the official opening. So as to avoid congestion in the exhibition space, it is better to serve refreshments at a safe distance from exhibits. Be prepared to touch up plinths and wipe down surfaces when the event is over, as dirty glasses will be left on any available surfaces!

Opening Speaker The exhibition organiser should invite the Opening Speaker at least 2 months in advance of the opening. It is usual for this person to visit the exhibition in advance of the Official Opening and be briefed on the contents and concept of the show. Some exhibition organisers present the Opening Speaker with a gift after they have spoken, but this is not mandatory.

Order of proceedings Although invitees may arrive at the appointed time, it is usual to start proceedings about 1/2 hour later. It is usual for the gallery-owner or administrator to begin the evening and introduce the Guest Speaker. When the Speaker is finished, the exhibition organiser may take a moment to thank him/her and then acknowledge the sponsors, gallery staff, exhibitors, etc. It is a good idea to point visitors to the Information and Sales Desk.

Photographer In the event that a press photographer does not arrive, it is important to employ a photographer to take pictures of guests at the Official Opening. This will not cost a great deal and the photographer may include a distribution service in his quote. If budget restricts, ask a reliable friend to use a good camera to take photographs of people at the opening and distribute them yourself.

IMPORTANT NOTE: Some exhibition organisers offer special previews to sponsors and potential customers. The advantage of this is that it offers an exclusive opportunity to purchase in advance of the official opening.

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10 Day-to-Day Operations

S

tarting on Opening day, every exhibition should have an information desk. This is the cash-desk and indicator of professionalism for the show so it should be well staffed and stocked with the following items.

Visitors Book Encourage visitors (particularly celebrities, politicians etc) to sign and comment your own separate visitors book.

Positive comments can be used at a later date as leverage for funding and PR. Notebook for invigilator Ideally the invigilator should count the number of people that visit the exhibition each day. This can be done by using a simple hand-written hash system: (llll) These numbers are very important to document and can be used to prove the popularity of your exhibition in future proposals.

Duplicate Book This applies to selling exhibitions. It means that for every sale that occurs, both the customer and the exhibition organisers have a record of the sale. You should write down your sales policy on the inside cover of this book, i.e., ‘Customer pays in full at time of sale’, ‘Customer must pay deposit of 50% at time of sale’, ‘No exhibit can be removed from exhibition before end of tour.’ The details that should be included on every docket are: Contact Details for Exhibition organiser Contact Details for Customer (Name, address, tel, mob, e-mail Description and Price of exhibit Deposit/Amount paid by customer Delivery or Collection method in detail with date.

Credit Card/Laser Machine This may only apply to organisers who have a merchant status with credit card companies. If you intend to organise a lot of exhibitions in the future, it may be worthwhile enquiring at your bank about becoming a credit card merchant.

Otherwise, you will need to specify cash or cheque payment only.

Red Stickers The red sticker is exhibition-lingo for ‘sold’ – be sure to have a pack at the information desk!

Catalogues There should be a catalogue left out as a display copy so that visitors can have a look at what they are going to buy.

Press Folder Visitors like to see that the exhibition has featured in the press. Gather press-cuttings and feature in a simple book or folder.

Press Packs Keep a spare pile of press packs and press releases for visiting media journalists.

Petty Cash This will be necessary if there is money accruing from catalogue/exhibition sales.

Sundry Items These will include pens, mobile phone, scissors, sellotape, blu-tack, stapler, measuring tape, sweets, jar of coffee, etc.

REMEMBER YOUR CHECKLIST:

Visitors Book Notebook Duplicate Book Credit-card Machine Red Stickers Catalogues Press Folder Petty Cash Press Pack Sundries If there is a computer or laptop at the desk, be sure that your attendant/invigilator is instructed NOT to be surfing the internet or giving the screen more attention than the exhibition!

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11 The Tour

I

t is usual to consider possibility of touring an exhibition at the initial planning stages. A tour will have significant cost and time implications. Potential venues should be contacted well in advance so that the exhibition can be included in their calendar of events. It is common that some galleries may only want the exhibition when it has proved successful, i.e. after it has opened at the first venue. In order to plan successfully for a tour, look at the following: Additional costs that will be incurred

Waterford

General checklist for tours Venues - checklist of provisions and policies

Additional Costs Amongst the costs that will increase are: - Transport - Printing - Openings - Staffing - Insurance - Venue hire / costs - P.R. - Telephone/Postage - Staff travel and living expenses

Cork

Limerick

Galway Kilkenny

Belfast

General Checklist ! Make a list of the best venues for this type of exhibition in terms of size, profile and cost. ! Check with funding agencies to see if they offer extra funding for touring exhibitions. ! Find a reliable and cost-efficient delivery service. ! Agree with exhibitors that their exhibits will be on display for an extended time. ! Compile a touring policy which may include removal and replacement of exhibit(s), sales, pricing, staffing, insurance, etc..

Venues 1. Checklist - will they provide: ! financial assistance toward the exhibition? ! staff to assist with set-up/take-down? ! PR for the exhibition? ! sundry items e.g: paint, tools, ladders, lighting, etc. ! storage for exhibits between tour-dates? ! storage for packing materials?

Ennis

Dublin

Tralee

2. What are their policies regarding: - Insurance - Invitation / postage costs - Opening costs - Commission on sales

Sligo

IMPORTANT NOTE: There are many rewards to be reaped from touring an exhibition. A much wider audience will view the exhibition and its profile will increase as it goes from venue to venue. In terms of press and PR, exhibition organisers have a much wider span of time in which to target key journalists, publications, radio and television programmes.

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12 Seminars, Events & the Web

S

eminars and add-on Events can be another way of enhancing an exhibition. These are also important to consider at the initial planning stages.

Seminars A Seminar is a meeting or gathering of people who are interested in discussing the exhibition, its themes or content in terms of work, in more detail. The benefits of holding a seminar are as follows: - There is a focal point of discussion and learning for those who are interested in the exhibition.

- There is an extended opportunity to network with organisers, exhibitors, funders and members of the public.

- This is a good way of increasing the profile of, and interest in, the contents and theme(s) of the exhibition.

- Certain funding agencies may take your proposal into consideration if there is an educational dimension.

The timing of the seminar is important. The opening day is a good choice as a lot of the potential audience are already on site so the seminar venue should be closeby.

Events Events come in many shapes and forms! They are an extremely good way of increasing your profile and appeal to a wider audience. In some cases, a small entrance fee may be appropriate. The timing of events can be quite flexible.

Some ideas for events may include: A Musical Performance in the exhibition space.

Poetry Reading Guide sessions for local schools Demonstration workshops by exhibitors Viewing your exhibition as a source of learning is a wise philosophy. Whilst sales may not be attributed to hosting seminars and giving tours to children, you are developing an audience and potential customers for the future.

The Web It has become more and more affordable to set up a website. If your budget cannot stretch to paying a professional, most computers come with a do-it-yourself package which allows you to set it up for yourself. An exhibition website is an increasingly necessary PR tool, particularly in relation to impressing potential sponsors, re-enforcing your professionalism and developing further sales22. It can also become a forum for discussion in terms of boards and links to exhibitors’ own websites and blogs.

22

see examples of websites in Appendix 5 p.36

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13 10 Steps to Success!

1

Plan carefully.

2

Stretch the imagination when it comes to Sourcing Funds.

3

Consider (a) Theme and (b) Exhibitors carefully.

4

Impress your exhibitors - make them strive to be part of this exhibition.

5

Impress Gallery owners and administrators - make them want this show!

6

Invest in good Photography.

7

Appreciate the visiting public - involve them - listen to their opinion.

8

Wow! the Press.

9

Network like crazy!

10

Be professional in all activities and say 'Thank you'.

Good Luck!

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Bibliography Support for Artists - see Arts Council website www.artscouncil.ie and click on ‘available funding’ or Tel. callsave: 1850 392492 or 01 6180200 Organising Your Exhibition: The Self-help Guide (Artists Handbooks) (Paperback)

by Debbie Duffin (Author) 1991 Organising an Exhibition (Artists Handbooks S.) (Irish Arts Council publications: out of print)

by Siubhan Barry (Author) 1991 Creating a Winning Online Exhibition: A Guide for Libraries, Archives and Museums ALA Editions, US (Paperback)

by Martin Kalfatovic (Author) 2002 Designing Exhibitions

By Giles Velarde (June 2001) Gower Publications Making the Most of Exhibitions W.D.F. Waterhouse (Author) 1987

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Appendix 1 Exhibition Schedule (fictional) ‘Running Man’ a ceramic exhibition curated by Johnny Farrell. Johnny is a ceramic artist whose experiments have led to the production of an interesting collection of figurative work. He is very excited by his latest samples and is willing to share the limelight with other ceramic artists and initiate an exhibition entitled ‘Running Man’. His target list of exhibitors include ceramic artists from all over Ireland.

Year 1 January –

Johnny devises the ‘Running Man’ idea. He sets to work to write an exhibition proposal and submits it to relevant funding agencies/corporations. When he formulates his draft budget he sees that he would require €6,500 to cover his costs. This does not include the cost of his own time but does cover expenses. He sends the proposal to galleries in his area. The Spotlight Gallery agrees to take the show in September.

Early Feb -

Johnny phones 3 funding agencies and requests copies of their application forms. In reply, he accompanies each application form with a copy of his exhibition proposal.

Mid April –

Johnny raises €2,500 from one agency. He is turned down by the other two so he sets about plan ning a sponsorship-bid with his material suppliers as well as companies in his local area. The Spot light Gallery agrees to pay for Opening-costs, i.e., invitations, postage, refreshments, etc., so his original budget can be reduced by €1,000. He has also got his own insurance company to sponsor the exhibition’s public liability insurance worth €350.

End April –

Johnny advertises the exhibition to potential exhibitors through the announcement section in the Crafts Council’s Stopress and his Guild newsletter. He requests that applicants also submit preliminary drawings.

By mid-month, Johnny has received over 50 applications. He has asked his Guild and the Spotlight Gallery to provide people to assist with the selection of exhibitors.

Johnny, and 2 jurors, select 20 suitable exhibitors. They write to both successful and unsuccessful candidates, returning drawings to the latter. Johnny sets a date at the start of August for completion of exhibits.

Johnny compiles a sponsorship bid in the form of a folding card that includes some of the preliminary drawings that he has received. He has scanned the drawings onto his computer and usied them as decoration on the folding card. He gets help from his neighbour’s son who likes computers He sends out the cards to 40 companies, local and national, with stamped addressed envelopes inside. Two days later, he sets about telephoning the recipients. On the first day he manages to set up appointments with some company representatives and gets one verbal commitment for almost €500! One week later he has confirmed a total of €1,750 in corporate sponsorship from an extended selection of telephone conversations, appointments and returned envelopes containing cheques!

His exhibition can now go ahead Agency Funding €2,500 Corporate Sponsorship €1,750 Assistance-in-kind €1,000 Insurance €350 Total €5,600 He also manages to secure €250 worth of carpentry supplies from his local DIY store.

June End June July -

August –

The opening date is confirmed as the 20th Sept. By now most of the 20 exhibits are completed. It is time to photograph the work. Johnny asks exhibitors to deliver their work to a professional photographer’s studio. The objects are photographed against a plain backdrop and the session is completed in 2 days.

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August (cont'd) Luckily the Spotlight Gallery can store the exhibits until the exhibition set-up. The gallery also suggests Johnny ask a local politician to perform the opening, so he contacts his constituency office to book the date. He provides the T.D. with a copy of the exhibition proposal and the draft text for the catalogue. He then writes a press release and compiles a press list and invitation list.

Within a week of the shoot, the high definition photographs are ready for distribution on CD. He notices that a local printers provides a graphic design service at €40 per hour so he hires a girl for 3 hours to put a clever 6-page catalogue together. His budget restricts him to printing in black and white, but the presentation is professional.

September -

The invitations (paid for by the Gallery) are sent out on Sept. 12th using the gallery and Johnny’s own lists. Press releases are sent to local and national press, radio and TV. – gallery staff follow up with phonecalls.

Sept. 17th /18th Johnny is allowed access to the gallery. A carpenter has constructed 10 simple ‘box’ plinths (display stands) from MDF and Johnny paints them with white emulsion. The gallery have about 12 plinths in their store. Before unpacking the objects, he measures the gallery space and makes a plan of where the plinths will go. With assistance from gallery staff and two exhibitors, he unpacks the exhibits, completes the relative condition forms and places them on the plinths around the room.

He makes sure that there is adequate space between plinths to allow for wheelchairs and buggies.

Using a tall ladder he adjusts the lighting.

Sept. 19th

Gallery staff have completed all price labels – attached them to relevant plinths and prepared the Sales Desk with Visitors Book, red-stickers, catalogues, pens, etc.. Johnny has organised a small reception for his sponsors, sponsors' relatives and a representative from the funding agency and the press in the afternoon. He employs a photographer to take some pictures. This photographer distributes the pictures to national and local press.

Sept. 20th

The opening is timed for 6.30pm. Gallery staff are busy preparing the refreshments and cleaning the space. A coat-stand is brought out and placed near the entrance. The local T.D. arrives at 6pm and Johnny gives him a private tour of the exhibition and answers any queries. Some of the exhibitors arrive with their families. The photographer is at hand again to take pictures of the TD with the gallery owner and some of the exhibitors. The local radio station has sent their Arts correspondent to interview Johnny and participants. At 6.30pm, the gallery owner calls for every one’s attention and the official Opening begins.

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Appendix 2 Press Releases

PRESS RELEASE

CHAIRS PREPARE YOURSELF FOR A VERY EXCITING DESIGN EXHIBITION IN GALWAY! Opening Wed. 14th July Official opening: SAT. 17TH JULY AT 12 NOON, AULA MAXIMA, N.U.I. Galway CHAIRS is a unique design show organised for the 1999 Galway Arts Festival.

Take an everyday object...

Everyone uses a chair. Chairs play a fundamental role in all of our lives; yet do we consider how they might enhance our surroundings, move beyond mere function and reflect good use of shape and beauty?

Look at it differently...

20 of Ireland’s most significant designers & artists have been chosen to show a range of approaches and material usage. There are environmental artists and glass-makers, furniture-makers and ceramicists... all creating chairs!

For millennia the chair has existed to make life better. It has also transcended functional origins to capture a place in the global imagination - the throne symbolises power, our judiciary sit in judgement, control is held by the chairperson, the list goes on and on. Designers & Artists have performed many metamorphoses by the utilisation of countless shapes, materials and dimensions. The chair has fulfilled many purposes, on the long curve between funtionality and high art.

The aim of this exhibition is to stimulate Irish Designers & Artists to re-consider this everyday object, combining to the form, function, material and imagination. Designers represent many styles and approaches.

They also represent a wide geographical spread.

The organisers wish to create a platform for new thinking and new work. This project and exhibition has been created to stimulate innovative Design-thinking in Ireland.

Venues:

1. Aula Maxima NUIG 2. Bridge Gallery, Dublin 3. Foyleside S.C., Derry.

Jul 15th - 27th ‘99 29th Jul - end Aug ‘99 8th Sept - end Sept ‘99

For further information, contact Hilary Morley or Seán McCrum c/o Galway Arts Festival, Black Box, Dyke Road, Galway Tel. +353-91-509700 e-mail: info@galwayartsfestival.ie web: www.galwayartsfestival.com

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BREAKING OUT Celebrating a new generation of talented and innnovative artists. Breaking Out showcases beautiful work from emerging makers of all disciplines.

Venue: Dates: Hours: Contact:

National Craft Gallery, Castle Yard, Kilkenny 18 October 2008 – 31 January 2009 Mon to Sat 10am–6pm, Sun 11am-6pm ncgpress@ccoi.ie

The Crafts Council of Ireland’s flagship exhibition space has opened its doors to some of our most promising young artists, giving them the chance to ‘break in’ to a promising professional career. Newly trained craftspeople, recent graduates and career changers, what they all have in common is a dedication to design and fine craftsmanship.

Following an open call to all emerging makers curator Ann Mulrooney also visited gradute shows throughout the country. She finally selected 30 artists: “I was looking for technical ability, skill, a mastery of materials, innovation and consistency. I was also looking for what can best be described as a ‘spark’. It’s difficult to define but it’s that instantly recognizable quality that marks an artist out as special.”

Selected artists include Natasha Rollinson, a jewellery graduate from the University of Ulster and Anthony O’Connor who studied Ceramics, Glass and Metalwork at NCAD and is now working in 3-D modelling. Kevin Callaghan is another young artist exhibiting. A recent graduate of the Crafts Council of Ireland’s Ceramic Design and Skills Course, his red terracotta pieces are brought to life with strong, gestural brushstrokes.

The Crafts Council of Ireland is dedicated to supporting and nurturing emerging talent and this wonderful exhibition is an important platform for Ireland’s young makers. During the exhibition the Crafts Council of Ireland, in association with the Irish Arts Review, will name the winner of the inaugural Emerging Makers Award. This award, with a prize worth !5,000, is open to all artists who applied for Breaking Out. Breaking Out opens in the National Craft Gallery on October 18 2008, with a seminar taking place in Kilkenny on November 29. The National Craft Gallery is open Monday to Saturday from 10am to 6pm and Sundays 11am to 6pm (April – December only) Admission is free.

For further information contact Helen Carroll. T: 086-8057220 E: ncgpress@ccoi.ie.

National Craft Gallery, Crafts Council of Ireland, Castleyard, Kilkenny Tel: 00 353 (0)56 7761804 Fax: 00 353 (0) 7763754 Email: ncg@ccoi.ie www.ccoi.ie

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Appendix 3 Exhibition Pricing Agreement Form (Sample)

EXHIBITION 'X' AGREEMENT FORM PLEASE COMPLETE ALL SECTIONS IN BLOCK LETTERS SECTION 1 EXHIBITOR'S NAME: ADDRESS: TEL./FAX.

e-mail:

SECTION 2 Exhibit No.

Exhibit Title

Cost to Maker

VAT?

SECTION 3 If one of the commercial galleries on the tour wish to reduce price to achieve a sale, are you willing to offer discount on your cost price?______ The gallery will contact you by phone before the sale is complete - if you are not contactable, what is the furthest percentage amount that you are willing to discount? _____ (This is extremely important information and will save on confusion in the event of a sale.)

SECTION 4 Prices at the exhibition will remain constant for the tour. Exhibitors are requested not to conduct private/discounted sales at any of the openings as this will undermine the credibility of the exhibition, its exhibitors and organisers.

SECTION 5 Where the gallery is not a commercial outlet, all profit on sales will go towards covering the costs of the exhibition.

“I agree to the Pricing Terms and Conditions outlined above”: Signed: _______________________________ Date:__________________________

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Appendix 4 Pre & Post Exhibition Condition Reports

PRE-EXHBITION CONDITION REPORT (SAMPLE): Name of Exhibition: Name of Exhibitor: Title of Exhibit: Venue: “On inspection, I am satisfied that this exhibit is in good, presentable condition and that it has arrived without any damage or broken parts” Signature #1

(curator)

Signature #2

(deliverer or exhibitor)

Date:

POST-EXHBITION CONDITION REPORT (SAMPLE): Name of Exhibition: Name of Exhibitor: Title of Exhibit: Venue: “On inspection, I am satisfied that this exhibit is in good, presentable condition and that it is ready for dispatch without any damage or broken parts” Signature #1

(curator)

Signature #2

(deliverer or exhibitor)

Date:

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Appendix 5 Useful lists 1. List of galleries and exhibition venues in Ireland which are known to host craft exhibitions.

2. List of galleries and exhibiton venues in Northern Ireland.

3. List of Arts & Cultural Centres in Ireland and Northern Ireland (some venues may be repeated here) 4. List of principal Newspapers & Magazines & websites.

1. List of galleries and exhibition venues in Ireland which are known to host craft exhibitions Name of Gallery Ardmore Pottery & Gallery Blue Umbrella Gallery Cat & Moon CORE DesignYard Davern & Bell Eblana Etain Hickey Collections Farmleigh Gallery Foxford Woollen Mills Gallery Crafts Glucksman Gallery Grange Gallery Guinness Gallery The Huntsman Museum Hallward & Millcove Galleries Judy Greene Keane On Ceramics Leitrim Design House Louth Craft Mark @Highlanes Maison & Chateau Mise Nora Dunne Gallery The Muckross Gallery Narrow Space Red Aesthetic Sliding Rock Gallery

Website www.ardmorepottery.com www.blueumbrellagallery.com www.thecatandthemoon.com www.corecrafteddesign.com www.designyard.ie www.davernandbell.ie www.eblanagallery.ie www.rossmorepottery.com www.farmleighgallery.ie

Address The Cliff, Ardmore, Co. Waterford 21 Church Street, Listowel, Co. Kerry 4. Castle St, Sligo Ballinahown, Co. Westmeath 48/49 Nassau St, Dublin 2 22 Thomas St, Limerick 8 Lower Baggot St, Dublin 2 Clonakilty, West Cork Farmleigh, Castleknock, Dublin 15 Foxford, Co. Mayo www.fionaturley.com Kilworth, Cork www.glucksman.org University College, Cork www.thegrangedublin.ie Oldtown, Nr Ballyoughal, Co. Dublin www.guinnessgallery.com Foxrock Village, Dublin 18 www.huntmuseum.com Rutland St., Limerick www.millcovegallery.com Dublin, Cork & Kerry www.judygreenepottery.com Kirwan’s Lane, Galway Pier Road, Kinsale, Co. Cork www.intoleitrim.com The Dock Arts Centre, Carrick-on-Shannon. www.louthcraftmark.com Laurence St, Drogheda, Co. Louth www.maisonchateau.com Glanworth Mill, Glanworth, Co. Cork www.miseonline.ie Unit 4 The Twelve, Barna, Co. Galway www.noradunnegallery.com Carlisle Club, 52 - 54 Kimmage Road West, Dublin 12 www.themuckrossgallery.com Muckross, Killarney, Co. Kerry www.thenarrowspace.com 14 Mitchel St, Clonmel, Co. Tipperary www.redaesthetic.com Rose Inn Street, Kilkenny City, Kilkenny www.ceardlann.com Spiddal, Co. Galway

Tel. No 024-94152 068-53986 071-9143686 0906-430222 01-4741011 061-481967 01-6788941 023-21479 01-8155900 094-9256104 025-27972 021-4901844 01-8078888 01-2897955 061-312833 01-6621482 091-561753 021-4774553 071-9650550 041-9803283 025-38555 091-591849 086 8885321 064-29999 052-27838 056-7765526 091-553376

2. List of galleries and exhibition venues in Northern Ireland Name of Gallery Ards Crafts Down Civic Arts Centre Flowerfield Arts Centre Island Arts Centre The Marketplace Millennium Court Arts Centre Ormeau Baths Gallery Space Craft The Ulster Museum The Wickerman

Website www.ards-council.gov.uk www.downartscentre.com www.flowerfield.org www.islandartscentre.com www.marketplacearmagh.com www.millenniumcourt.org www.ormeaubaths.co.uk

Address 31 Regent Street, Newtownards, Down, BT23 4AD 2-6 Irish Street, Downpatrick, Down, BT30 6BP 185 Coleraine Rd, Portstewart, Derry, BT55 7HY Lagan Valley Island, Lisburn, Antrim, BT27 4RL Market Street, Armagh 2-6 William Street, Portadown 18a Ormeau Ave, Belfast, Antrim, BT2 8HS www.craftanddesigncollective.com 9b The Fountain Centre, College St, Belfast, BT1 6ET www.ulstermuseum.org.uk Botanic Gardens, Belfast www.btinternet.com/~thewickerman/ River House, High St, Belfast

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Tel. No 048 91826846 048 44615283 048 70831400 048 92509509 048 37521821 048 3839 4415 048 90321402 048 90329342 048 90383000 048-90243550

2. List of Arts & Cultural Centres in Ireland and Northern Ireland Name Airfield Trust Aras Eanna Aras Inis Gluaire Ard Arts Centre Artswell at Iontas Axis Arts Centre Backstage Theatre Ballina Arts Centre Balor Arts Centre Belfast Waterfront Hall Belltable Arts Centre Birr Theatre & Arts Centre Briery Gap Cultural Centre Ltd Burnavon Arts & Cultural Centre Civic Theatre Co. Ltd / Tallaght Clinton Centre Clotworthy Arts Centre Cork Opera House PLC Courthouse Arts Centre Crawford Municipal Art Gallery Crescent Arts Centre Dean Crowe Theatre & Arts Centre Dock, The Down Civic Arts Centre Draiocht Ltd / Blanchardstown Arts Droichead Arts Centre Dunamaise Arts Centre Everyman Palace Flowerfield Arts Centre Foxford Exhibition Centre Friars' Gate Theatre & Arts Company Galway Arts Centre Garage Theatre Garter Lane Arts Centre Glor Grianan Theatre Hawks Well Theatre Helix, The info@thehelix.ie Island Arts Centre Kerry Literary & Cultural Centre Lewis Glucksman Gallery Limerick City Gallery of Art Linenhall Arts Centre Linen Hall Library Lismore Castle Arts The Market Place Mermaid Arts Centre Mill Theatre, The Millennium Court Arts Centre Moat Theatre, The Model Arts Centre Mullingar Integrated Arts Centre North Leitrim Glens Development Pavilion Theatre Project Arts Centre Old Museum Arts Centre Ormeau Baths Gallery Ramor Theatre Regional Cultural Centre Riverbank Arts Centre Roscommon Arts Centre Siamsa Tire Sirius Arts Centre Solstice Arts Centre Source Arts Centre, The South Tipperary Arts Centre St John's Listowel St Michael's Theatre, New Ross Tain, An Tallaght Community Arts Centre Temple Bar Gallery and Studios Tigh Fili Arts Centre Tipperary Excel Heritage Company Town Hall Theatre Triskel Arts Centre Tuar Ard Waterford Theatre Royal Society Ltd Watergate Theatre West Cork Arts Centre Wexford Arts Centre

e-mail arts@airfield.ie araseanna@eircom.net

Address Tel Upper Kilmacud Rd, Dundrum. D. 14 01-2967609 Inis Oirr, Arainn, Co. na Gaillimhe 099-75150 Priomh Sraid. Beal an Mhuirthead, Beal an Atha, Mhuigh Eo 097-81418 arts@ards-council.gov.uk Town Hall Arts Cntre, Conway Square, Newt’nards BT23 4DB 048 9181 0803 teresamccabe@iontascastleblaney.ie Conabury. Castleblaney, Monaghan 042-9740195 ray.yeates@axis-ballymun.ie Main St, Ballymun, D. 9 01-8832152 info@backstage.ie Farneyhoogan, Longford, Co. Longford 043-47888 ballinaartscentre@eircom.net Barrett St, Ballina, Mayo 096-73593 conor@balortheatre.com Main St. Ballybofey, Co. Donegal 074-9131840 turkingtona@waterfront.co.uk 2 Lanyon Place, Belfast. BT1 3WH 048 9033 4400 peter@belltable.ie 69, O'Connell St, Limerick 061-315871 birrtheatre@eircom.net Oxmantown Hall, Birr, Offaly 057-9122893 brierygap@eircom.net Main St, Macroom, Cork 026-41793 burnavon@cookstown.gov.uk Cookstown, Co. Tyrone, BT80 8DN 048 86767994 briddukes@civictheatre.ie Tallaght, D.24 01-4627460 arts@fermanagh.gov.uk Queen Elizabeth road, Enniskillen, Fermanagh, BT74 6AA 048 6632556 clotworthyarts@antrim.gov.uk Antrim Castle Gardens, Randalstown Road, Antrim, BT41 4L11048 94 428000 gbarnes@corkoperahouse.ie Emmet Place, Cork 021-4274308 shelly@tinahely-courthouse.ie Main St, Tinahely, Arklow, Wicklow 0402-38529 crawfordinfo@eircom.net Emmett Place, Cork 021 4805042 info@crescentarts.org 2-4 University Road, Belfast 048 90 242338 deancrowetheatre@eircom.net Chapel Street, Athlone, Co. Westmeath 090-6492129 arts@thedock.ie St. Georges Terrace. Carrick on Shannon, Leitrim 071-9650828 mail@downartscentre.com 2-6 Irish Street, Downpatrick, County Down, BT30 6AH 048 4461 5283 emer@draiocht.ie The Blanchardstown Centre. Blanchardstown, D.15 01-8852610 marcella.bannon@droichead.com Barlow House, West St, Drogheda, Louth 041-9875140 louise@dunamaise.ie Church St, Portlaoise, Co. Laois 057-8663355 accounts@everymanpalace.com 15, MacCurtain St, Cork 021-4501672 info@flowerfield.org 185 Coleraine Road, Portstewart, Derry, BT55 7HU 048 70831400 foxfordwoollenmills@eircom.net Foxford, Co. Mayo 094 9256756 friarsgate@eircom.net Sarsfield St, Kilmallock, Limerick 063-98727 info@galwayartscentre.ie 47, Dominick St, Galway 091-565886 garagetheatre@eircom.net Mifet Buildings. St. Davnet's Complex Armagh Rd, Monaghan 047-81597 caroline@garterlane.ie 5 & 22a O'Connell St, Waterford 051-877153 jfeeney@glor.ie Causeway Link, Ennis, Clare 065-6845370 patriciamcbride@eircom.net Port Road. Letterkenny, Donegal 074-9123288 sarahjaneleydon@hawkswell.com Temple St, Sligo 071-9161518 DCU Campus.

Collins Avenue, Glasnevin, D.9 01-7007100 enquiries@lisburn.gov.uk Lagan Valley Island, Lisburn, Antrim, BT41 4LH 048 925095009 info@kerrywritersmuseum 24, The Square, Listowel, Kerry 068-22212 info@glucksman.org University College Cork 021 4901844 artgallery@limerickcity.ie Carnegie Building, Pery Square, Limerick 061 310633 linenhall@anu.ie Linenhall St, Castlebar,Mayo 094-9023733 info@linenhall.com 17 Donegall Square North, Belfast BT1 5GB 048 9032 1707 administrator@lismorecastlearts.ie Lismore Castle, Co. Waterford 058 54061 admin@themarketplacearmagh.com Market Street, Armagh BT61 7AT 048 3752 1820 director@mermaidartscentre.ie St. Cronan's, Main St, Bray, Wicklow 01-2724304 dundrumtheatre@ireland.com Dundrum Town Centre, Sandyford Rd, D.16 01-2969340 info@millenniumcourt.org William Street Portadown, BT62 3NX 048 3839 4415 info@moattheatre.com Abbey St, Naas, Kildare 045-883030 sarahglennie@modelart.ie The Mall, Sligo 071-9141405 slynch@westmeathcoco.ie Mount St, Mullingar, Westmeath 044-9347777 anna@theglencentre.com The Glens Centre. New Line, Manorhamilton, Leitrim 07198-55833 martin@paviliontheatre.ie Marine Rd, Dun Laoghaire, Dublin 01-2312920 willie.white@project.ie 39, East Essex St, Temple Bar, D. 2 01-6796622 info@oldmuseum.co.uk 7 College Square North, Belfast BT1 6AR 048 9023 5053 mail@ormeaubaths.co.uk 18A Ormeau Avenue, Belfast BT2 8H5, Co. Antrim 048 9032 1402 ramortheatre@cavancoco.ie Virginia, Co. Cavan 049-8547074 rcc@donegalcoco.ie Cove Hill. Port Rd, Letterkenny, Donegal 074-9129186 manager@riverbank.ie Main St, Newbridge, Kildare 045-448333 adooher@roscommoncoco.ie Circular Rd, Roscommon 090-6625824 siamsatire@eircom.net Town Park, Tralee, Kerry 066-7123055 cobharts@iol.ie The Old Yacht Club, Cobh, Cork 021-4813790 info@solsticeartscentre.ie Railway St, Navan, Meath 046-9092300 claudia@sourcearts.ie Cathedral St, Thurles, Tipperary 0504-90340 reception@southtipparts.com Nelson St, Clonmel, Tipperary 052-27877 stjohnstheatre@eircom.net The Square, Listowel, Kerry 068-22566 tomas@stmichaelsnewross.com South St. New Ross, Wexford 051-421255 antain@dundalktown.ie Crowe St. Dundalk, Louth 042-9392919 tcacart@itw.ie Virginia House, Old Blessington Road, Tallaght, Dublin 24 01 4621501 info@templebargallery.com 5 -9 Temple Bar, Dublin 2 01 6710073 info@tighfili.com Cork Arts Theatre. Camden Court, Carroll's Quay, Cork 021-4509274 mary.sarsfield@tipperary-excel.com Mitchell St, Tipperary Town, Tipperary 062-80520 tht@galwaycity.ie Courthouse Square, Galway 091-569755 info@triskelartscentre.com 10/14 Tobin St, South Main St, Cork 021-4272022 maura.farrell@tuarard.ie Church St, Moate, Westmeath 090-6482042 theatreroyal@eircom.net Theatre Royal, The Mall, Waterford 051-853626 watergategc@eircom.net Parliament St, Kilkenny 056-7761674 info@westcorkartscentre.com North St, Skibbereen, Cork 028-22090 elizabeth@wexfordartscentre.ie Cornmarket, Wexford 053-9123764

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4. List of principal Newspapers, Magazines, Publications and e-bulletins Newspapers in Ireland: National Broadsheet Daily: The Irish Examiner The Irish Independent The Irish Times Sunday/Weekly: The Sunday Business Post The Sunday Independent The Sunday Times The Sunday Tribune Foinse Tabloid Daily Irish Daily Star The Evening Herald Irish Daily Mirror Irish Sun Irish Daily Mail Sunday/Weekly The Sunday World The Irish Catholic Irish Farmers’ Journal Irish News of the World Irish Daily Star Sunday Irish Mail on Sunday

Leading Regional Newspapers: The Carlow People The Anglo-Celt (Cavan) The Clare Champion The Corkman The Southern Star (Cork County) Derry People/Donegal News Donegal Democrat Metro (Dublin) Herald AM (Dublin) The Galway Advertiser The City/Connaught Tribune The Kerryman The Leinster Leader The Kilkenny People The Leitrim Observer The Limerick Leader The Longford Leader The Drogheda Independent The Dundalk Democrat The Western People The Offaly Independent The Roscommon Herald The Sligo Champion The Tipperary Voice The Munster Express (Waterford) The Wexford People The Wicklow News

Newspapers in Northern Ireland: Daily: Belfast Telegraph The Irish News Belfast Newsletter Ulster Herald

Magazines: Irish Arts Review Select Magazine Ireland of the Welcomes Cara Magazine (Aer Lingus in-flight) Irish Homes Magazine House & Home Magazine Image & Image Interiors Ireland’s Homes Interiors & Living Magazine Upstairs Downstairs Galway Now Cork Now Irish Tatler Magazine Garden Designs In Dublin Circa

Newsletters/Specialist publications: Stopress (Crafts Council bi-monthly) Ceramics Ireland

e-bulletins: Visual Artists Ireland: www.visualartists.ie Irish Crafts: karen.noticeboard@gmail.com

Television & Radio Raidio Telifís Eireann (RTÉ) TV3 Ulster Television (UTV) BBC NI Lyric FM Newstalk Today FM Raidio na Gaeltachta Local radios: see Broadcasting Commission of Ireland www.bci.ie (list of licenced broadcasters in Ireland)

Local Northern Ireland Newspapers Banbridge Leader Ballymena Times Ballymoney & Moyle Times Carrickfergus Advertiser Donegal News (Omagh) Down Democrat (Downpatrick) Dromore Leader (Bainbridge) Fermanagh Herald (Enniskillen) Gaelic Life (Omagh) Impartial Reporter (Enniskillen) Larne Gazette Londonderry Sentinel (Waterside) Lurgan Mail Newry Democrat Portadown Times Strabane Chronicle Tyrone Constitution Tyrone Times (Dungannon) Ulster Business (Belfast) Ulster Star (Lisburn)

4. Useful Websites Information websites: Crafts Council of Ireland Craft Northern Ireland Crafts Scotland Crafts Council (UK) Wales Crafts Council World Crafts Council Arts Council National Museum of Ireland Visual Artists Ireland National Sculpture Factory Association of Irish Festival Events Arts Council of Northern Ireland Hunt Museum, Limerick The Ulster Museum The Rufford Craft Centre (UK) Museum of Art & Design (NY) Royal Hibernian Academy Art Ireland Culture Northern Ireland Irish Craft Association Belfast Galleries Newspaper listings

www.ccoi.ie www.craftni.org www.craftscotland.org www.craftscouncil.org.uk www.walescraftcouncil.co.uk www.wcc-europe.org www.artscouncil.ie www.museum.ie www.visualartists.ie (excellent listings) www.nationalsculpturefactory.com www.aoifeonline.com www.artscouncil-ni.org www.huntmuseum.com www.ulstermuseum.org.uk www.ruffordcraftcentre.org.uk www.madmuseum.org www.royalhibernianacademy.com www.artireland.ie www.culturenorthernireland.org www.irishcraftassociation.com / irishcraftupdate.com

www.belfastgalleries.com www.onlinenewspapers.com

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Exhibition websites: National Craft Gallery Sculpture in the Parklands ‘Bodies’ the Exhbition Crafts @Eigse Carlow Victoria & Albert Museum MAD New York Create @Fota House Expose yourself Gallery

www.ccoi.ie www.sculptureintheparklands.com www.bodiestheexhibition.com www.eigsecarlow.ie www.vam.ac.uk/microsites/cold-war-modern madmuseum.org/SEE/traveling exhibitions.aspx

www.fotahouse.com/news/ www.exposeyourselfgallery.com

Acknowledgements Hilary Morley has worked in the craft sector for over 20 years. Since her move to Galway in the mid-nineties, she has worked independently on projects which have included exhibition curation, facilitation, graphic design, administration, marketing & PR. She would like to acknowlege the following people whose guidance and assistance were invaluable in the completion and re-launch of this book.

Seán McCrum Ted Turton Mairead MacAnallen Greg McAteer Mary Gallagher Ann Mulrooney Cornelia McCarthy Emer Ferran Caroline O’Riordan Joanna Quinn Robin Forrester (RIP) Paul Clarke Vincent O’Shea Úna Parsons

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