Part 1

Networks

Pages 12 – 18

The first notes in the course material refer to Types of networks:

You are supposed to start critical support networks when you attend artists’ talks etc., if that does not apply , I have to start thinking about some of the networks that are available to me.

Then there is Peer feedback network:

I have plenty of that at our OCA SW meetings where the meetings are cross discipline so all sorts of experiences come my way.  One thing I must do is go with a specific question I want my viewers to focus on.

Apart from my tutor, I need to find more professionals: I might try my former tutors, but who else could I get who is available, accessible and doesn’t cost?  Before the new dispensation, tutor feedback was formative, now it’s the student who, after a Skype-type interview with the tutor is writing up the feedback.

Portfolio reviews:

I have entered my Rocks rock portfolio for the Lens Culture art photography competition which, if you enter 10 images on a theme which I did, you get feedback on your work.  I am looking forward to that.  Here is the review of my work from LensCulture.

The course notes refer to Laura Noble,and various other galleries.  My tutor suggested the following:

i)   Format19 Portfolio Review in Derby: the next one is on 16th March, 2019. Cost:4 reviews  £185.

ii)  Offspring photo meet – gone for this year & details for 2019 are not yet up.

iii)  Mimi Mollica – is one of the founders of PhotoMeet, and a documentary photographer.

iv)  Shoair Mavlian (armacad.info) a photography contest. she recently curated http://www.tate.org.uk/whats-on/tate-modern/exhibition/shape-light

v) I would like to ask Helen Sear (because of her work linking people and nature) and Edmund Clark (because of his work with prisons and prisoners.) to comment on my portfolio.

Helen W’s response to my request to look at my blog, just to make sure I am on the right track:

You could add the following:
http://marcobreuer.com/ – you’d need to research for any writing on his work
Annie Atkins – British botanist, related to the history of cyanotypes and its links to botany
Caleb Charland – contemporary approaches to analogue, craft techniques – http://calebcharland.com/about/
http://www.vam.ac.uk/content/articles/c/camera-less-photography-artists/
Philippa Lawrence – Bit random, but I can see parallels with the tracing/drawing/lines – botany, colour, form
Also some corrections for the notes:
Shoair Mavlian – she recently curated http://www.tate.org.uk/whats-on/tate-modern/exhibition/shape-light
Mimi Mollica – is one of the founders of PhotoMeet, and a documentary photographer
I have looked at Marco Breuer and Caleb Charland’s work & really got a lot out of them both which I can apply to my work.
The others, I will have to pluck up courage to contact them about my work.
Resource network:
  • Getting good printers.
  • Build a contact data base.
  • Framers.

Public relations network.

When you have an event coming up contact your network made up of not just FB, friends or LinkedIn.  Ask the contacts if you can put them on your mailing list.

Get your press release ready with the invitation & let people know that they can interview you.  Follow it up a few days before the event.

Knowing the lead times of the publications you want to target is important so you send it at the right time.

Spreadsheet containing:

Publications   curators   clients   potential collaborators   gallerists   buyers

 

Make a grid of;

Publications   Name of contact   Email   How we met   Follow-up?

Investigate MailChimp (free) for setting up group emails.

My initial grid of networks which will grow as and when I make more contacts:

Networks  

Pages 19 – 24

Preparing material for submission.

Galleries, publications, competitions & festivals have specific procedures & formats which must be followed to the letter  on their websites..

Know exactly where you want your work to be shown & so tailor your recipients rather than blitzing every contact.

Or you might be going to have a chat with an editor but be clear as to what you hope to gain from the chat & follow it up with a phone call.

Have a full CV ready.

Writing a good CV.

Craft the CV according to who is to receive it.

Info to have on an A4 CV:

I have used Edward Burtynsky’s CV model mainly to develop my own.  The layout of the website also defines and determines what you can & can’t do with it.  I like Burtynsky’s because it is clear and the dates are important.  His websites limits how much of his CV you can see at any one moment.

Name & contact details

Blog

Education

Awards

Publications

Exhibitions

Work experience.

Commissions.

Charity work

Residencies

Teaching experience

Gallery experience

Assisting

Writing

 

 

Writing a good bio

Length and style differentiate a bio, which is written in prose about yourself as a person- your interests, what connects you to whoever is reading it, how you connect to photography,  from a CV which is achievement based.

In a bio: who you are, what your work is about and why you would be a good person to work with.

It’s about presenting yourself to people you would like to work with.

To include in 200 words:

  • Where are you from & how has it influenced who you are today.
  • How has your creative life evolved
  • what is your primary interest in life / what is important yo you
  • what is your work about
  • what issues do you care about
  • what achievements are you proud of
  • what impression do you hope people will have of you in the first few minutes of meeting you
  • how would you like to work with people / connect with them

If the info is not relevant to your practice don’t include it.

Present yourself in a confident and professional manner.

Write your bio with an end-user in mind.

When you talk about technical matters keep them brief and state any relevance to your practice.

TED talk: Dave Wilkin: The death of the resume.

Getting into charity & community work.

Life was going to begin, so enthusiasm. No more work for life.

What the real world wanted: to have conversations with ceo’s.

Coffee conversations with leaders: be unconventional – how to get those skills into the real world.

What were 3 things I had to do:

Get a name

Get business cards

Talk to people about what young people are about.

Change a few of the conventional ways  to connect with opportunities to change:

  1. say goodbye to resume
  2. mentorship – create an anti-mentorship approach
  3. kill our egos:

Millennials: 7m, biggest powerhouse of people & soon 75% of the workforce; 80% of jobs are not posted publicly; 80% of jobs will exist in 20 years don’t exist today.

People feel that management gets in the way.  How do we help them develop their businesses.

We are the most educated because we have access to infinite info on internet.

CEOs: love story that hasn’t happened yet: leaders want to talk to millennials.

Disconnect: we have to change our ways.

How does a resume give the skills we have.  Go for coffee with a manager: your resume does not do you justice because it doesn’t put across what really makes you you.

Mentorship: can only be created over time through a mutually beneficial relationship. Rather: have coffee chats to share advice & build trust not synthetically made relationship.

Ego: we’re always told we can do what we want to do.  Ego gets between us & the mainstream world.  Go out, make mistakes.  Change the headlines in the mass media about the millennials.

Exploit our skills.

 

Michael Margolis: The resume is dead

  • Your perceived worth & value is directly linked to your personal story.
  • No superhero is born a super hero – how did they get their powers?
  • In your personal story, talk about what you love more than anything else – e.g. chocolate, so that people can identify you with that = it helps people locate themselves in your story, & discover what makes you tick & how you see the world .
  •  NARRATIVE: talk about a difficult subject in a way that makes people feel good. A shared understanding of where we come from & where we are going?  We don’t buy the product we buy the story that’s attached to it.  We have to narrate the story.
  • The DNA of every interaction is the story we share

Reflecting on the talks:

How much of this affects those of us at the end of the working spectrum, those pensioners who also have ideas and enthusiasm about the world they live in?

It shouldn’t make a difference b- we have to know what story we are going to narrate.

The TED talk was very repetitive.  The Margolis talk to make your life a story that others can latch on to = what makes you you.

What makes me who I am:

I love design irrespective of what it is on.  Ten years ago I started to collect espresso coffee cups, particularly the Illy collections because the design is created by famous artists.  I now have over 200 individual designs which translates to fewer than 1 per month so I can’t realistically call it an obsession.

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One of the 4 walls taken up with the cups, foregrounded by a Martin Parr print which I won in a raffle organised by the Martin Parr Foundation

My favourite and most recent is a set of 6  with photographs of pleated textiles by Ron Arad who has been a designer I have admired since I saw an exhibition of his furniture design at The Barbican in London in 2010.

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Two of my favourite of the 6 Ron Arad designs.

I was born in Rome, Italy and have lived in Malawi, Zimbabwe, South Africa and now in England but my photography has its active roots in England where I bought my first camera, a Fujifilm F450 in 2003.  The colours I experienced in all those countries are a foil to those I experience in England.

My primary interest in life is to see the world closely but differently.  There is so much information about now that it is easier to do research, which is important to me.

What I hope people will see in me is my enthusiasm and energy created by my most recent project whatever that may be.

I like to work with people in a spirit of learning and collaboration to achieve a common, mutually beneficial goal.

 

 

Artist’s statement:

This helps people / the press to describe you.

What drives me as a photographer is to see what I am not normally shown, and to collaborate with others be they artists or scientists, writers or textile workers.

I love to work with macro lenses and to print on different papers, for example tracing papers of different weights to convey different ideas intrinsic to the work I am producing.