student jury show

For the Student Juried Exhibition I was on the instillation/deinstillation committee.  I hung two-dimensional work, arranged sculptural work and patched holes in the wall. I worked April 3, 4, and 5 for a total of 9 hours. I also helped write the acceptance and rejection letters.
This was the first time I've hung a show and felt like I did a good job. This was not an easy task, I was not given very good instruction on how to actually hang work and had to teach myself.  In total I hung 16 artworks.  Through this experience I learned how to install an exhibition and how to problem solve if a problem came up. I don't think I would do anything differently. I felt like I did a good job.

Toucan Response

Functional Considerations:

The flow of traffic in the Toucan Gallery has been planned fairly well.  There is a wide amount of space to walk throughout the gallery comfortably and safely.

The gallery space has been designed to serve multiple purposes.  The front part of the gallery displays various forms of art created by a number of different artist, while the back part of the gallery serves as a professional frame shop.  The work displayed in the gallery is fairly affordable and features various artists made objects and artworks. Artworks are periodically switched out and do not have receptions.  I do not see any potential problems with traffic flow or the exhibition of artworks.

Formal Considerations:

The typographic aesthetics the Toucan gallery uses is effective.  The work is labled via tag, which is legible and non distracting.

There is visual unity within the displays in the gallery space.  While I was walking through the gallery I felt that the space was ordered in a way that promoted the viewer to further investigate and interact with the work that is being displayed.  It seems like the more high-end art is displayed on the walls and the other artists made objects are displayed on the tables and racks, which seems logical.

The visual style of the gallery seems to be  open and constantly changing.  The Toucan being a multi-purpose gallery, store and frame shop I think the open and constant changing style can give the viewer a new experience every time they come in.

Conceptual considerations:

The Toucan Gallery is a multi-purpose galley, store and frame shop that sells affordable fine art and artists made objects.

The organization of the work in the gallery seems to have a fluid sequence.  A visitor could start anywhere in the gallery and their interpretation of the art would not be influenced by the other work.  I think this fluid sequence is good because the work in the gallery is constantly changing and evolving,

Visitor observations:

I think the most popular aspect of the gallery space for someone under 25 would be the paintings displayed on the wall.  I say this because I am under 25 and I was drawn to them the most. I don't think anything would really be unpopular with people under 25.

I think that people over 25 would find the prices of the work sold in the gallery to be the most popular thing.  I would say this because typically art is expensive and this gallery has a lower price range then most.  I don't think anything would be unpopular among people over the age of 25.

I feel this gallery is designed for individual artists experiences and shared experiences.  I say this because the work that is more consumer based could be experienced the same way by a number of different people.  At the same time the more conceptual based work could be experienced at a more individual level.

If I could change one thing about the gallery space I would do something about the floors, they squeak very loud and were kind of annoying.  Other than that I feel like the owners of this gallery did a very good job.
.

Agreement letter

MSUB

1500 University Drive

Billings, MT 59101-0245

Northcutt Steele Gallery

Liberal Arts Building Rm.#100

406-657-2903

 

Dear Deborah Bright,

We are excited to have your exhibition, Deborah Bright: Landscape come to the Northcutt Steele Gallery.  I will be sending you a contract that must be signed and returned by no later than May 1, 2017.  Please ship all work via UPS. Please ship all work no later than September 1, 2017.  Work will be shipped back to you via UPS and will arrive no later than September 30, 2017.  Please note that the gallery director and students enrolled in professional practices will ensure proper receiving, handling, storage, and instillation of work exhibited in the gallery.

Thank you,

Zachary Hinkle

Contract

Contract for an Exhibition Loan

AGREEMENT made as of the ___2______ day of      March 2017    between         Deborah Bright    (hereinafter referred to as the “Artist”), and Northcutt Steele Gallery, Montana State University Billings (hereinafter referred to as the “Exhibitor”).

WHEREAS, the Artist is a recognized professional artist who creates artworks for sale and exhibition; and

WHEREAS, the Exhibitor admires and wishes to exhibit the work of the Artist; and

WHEREAS, the parties wish to have the exhibition governed by the mutual obligations, covenants, and conditions herein;

NOW THEREFORE, in consideration of the foregoing premises and the mutual covenants hereinafter set forth and other valuable considerations, the parties hereto agree as follows:

1. Creation and Title. The Artist hereby warrants that the Artist created and possesses unencumbered title to the works of art listed and described on the attached Schedule of Artworks (“the Schedule”) and has the right to loan these works for purposes of exhibition.

2. Duration of Loan, Manner of Exhibition, and Fee. The Artist hereby agrees to loan to the Exhibitor the works listed on the Schedule for the time period commencing ______October 19______, 20  17 , and concluding ____September 7___, 20_17_. The Exhibitor agrees to exhibit these works for no less than ______ days during this time period as part of the exhibition titled: ____________Deborah Bright: Landscape______________. These works [ ] shall [+] shall not be exhibited with the works of other artists. Other restrictions on the treatment of the works include: __________________N/A___________________________ Upon signing of this Agreement, the Exhibitor shall pay the Artist a fee of $____$1,000.00________ for the right to exhibit the works.

3. Delivery, Condition, and Care. The Exhibitor shall be responsible for arranging to have the works listed on the Schedule shipped from the Artist’s studio to the Exhibitor by the following method of transport: _______UPS________. All costs of delivery (including transportation and insurance) shall be paid by the Exhibitor. The Exhibitor agrees to transmit a written report to the Artist within five working days of the delivery of the works, specifying their condition and whether they appear in any way in need of repair. Further, the Exhibitor agrees to use the same standard of care for the works as it uses for comparable works in its own collection. The Exhibitor agrees to return the works in the same condition as received, subject to the provisions of Paragraph 4. The Exhibitor shall return the works by the date specified in Paragraph 2 for the conclusion of the loan and shall use the following method of transport: ___UPS___. The Exhibitor shall pay for the costs of delivery (including transportation and insurance) of the works back to the Artist. Please note that students enrolled at MSU may handle work as part of the Gallery Practices class.

4. Loss or Damage and Insurance. The Exhibitor shall be responsible for loss of or damage to the works from the time of shipment from the Artist through the time of delivery back to the Artist. The Exhibitor shall insure each work for the benefit of the Artist for the full value listed on the Schedule. This insurance shall be pursuant to a policy providing wall-to-wall all-risks coverage maintained in force by the Exhibitor. The Exhibitor shall provide a Certificate of Insurance for the works if the Artist so requests.

5. Use of Work. The Exhibitor hereby agrees that the loan of the works under this Agreement is solely for purposes of exhibition and that no other uses shall be made of the work, such other uses including but not being limited to commercial exploitation, broadcasts, or other reproduction. The Exhibitor further agrees that the works shall be kept at the following location: __Northcutt Steele Gallery____, and shall not be moved or displayed elsewhere without the express, written consent of the Artist.

6. Framing, Installation, Cleaning, Repairs. The Artist agrees to deliver each work ready for display unless framing, mounting, or a special installation is required. The Exhibitor agrees not to remove any work from its frame or other mounting or in any way alter the framing or mounting. In the event framing, mounting, or a special installation is required for the display of any work, it shall be described on the Schedule of Artworks and paid for by __________Deborah Bright__________. Exhibitor agrees that the Artist shall have sole authority to determine when cleaning or repairs are necessary and to choose who shall perform such cleaning or repairs.

7. Copyright and Reproduction. The Artist reserves all reproduction rights, including the right to claim statutory copyright, on all works listed on the Schedule. No work may be photographed, sketched, painted, or reproduced in any manner whatsoever without the express, written consent of the Artist. The Exhibitor may reproduce the works for its catalog of the exhibition and promotion related thereto for a fee of $__300___. All approved reproductions shall bear the following copyright notice: © by (Deborah Bright) (Year_2017).

8. Collection of the Artist. When displayed, each work shall be accompanied by a label or plaque identifying the work as a loan from the collection of the Artist. This label or plaque shall also include the following copyright notice: © by (Deborah Bright) (Year_2017).

9. Termination of Right to Exhibit. The right to exhibit pursuant to this Agreement shall terminate as of the date specified in Paragraph 2. In the event of the failure of the Exhibitor to exhibit the works or in the event of an exhibition or other act in violation of the terms of this Agreement, the Artist shall have the right to terminate the right to exhibit under this Agreement by written notice to the Exhibitor. The right to exhibit pursuant to this Agreement shall automatically terminate in the event of the Exhibitor’s insolvency or bankruptcy. In the event of termination of the right to exhibit pursuant to this Paragraph 9, the works shall be returned forthwith to the Artist pursuant to the provisions of Paragraph 4.

10. Non-Assignability. Neither party hereto shall have the right to assign this Agreement without the prior written consent of the other party. The Artist shall, however, retain the right to assign monies due to him or her under the terms of this Agreement.

11. Heirs and Assigns. This Agreement shall be binding upon the parties hereto, their heirs, successors, assigns, and personal representatives, and references to the Artist and the Exhibitor shall include their heirs, successors, assigns, and personal representatives.

12. Integration. This Agreement constitutes the entire understanding between the parties. Its terms can be modified only by an instrument in writing signed by both parties.

13. Waivers. A waiver of any breach of any of the provisions of this Agreement shall not be construed as a continuing waiver of other breaches of the same or other provisions hereof.

14. Notices and Changes of Address. All notices shall be sent to the Artist at the following address: __631 North Hancock Ave. Washington, WA  80903__, and to the Exhibitor at the following address: ____1500 University Drive. Billings, MT 5901______ . Each party shall give written notification of any change of address prior to the date of said change.

15. Governing Law. This Agreement shall be governed by the laws of the State of _____Montana_____.

IN WITNESS WHEREOF, the Parties have signed this Agreement as of the date first set forth above.

Artist___________                           ________                Exhibitor_________Northcutt Steele Gallery              ____

                                                                                                                                                                                    Company Name

                                                                                          By_________________Zachary Hinkle_______________

                                                                                                                                                                           Authorized Signatory, Title

Schedule of Artworks

               Title                       Date                        Medium                     Size            Insurance                     Framing,                    Condition

                                                  Created                                                                                Value                      Mounting,

                                                                                                                                                                            or Installation

1. ________________________________________________________________________________________________

2. ________________________________________________________________________________________________

3. ________________________________________________________________________________________________

4. ________________________________________________________________________________________________

5. ________________________________________________________________________________________________

6. ________________________________________________________________________________________________

7. ________________________________________________________________________________________________

8. ________________________________________________________________________________________________

9. ________________________________________________________________________________________________

10. _______________________________________________________________________________________________

11. _______________________________________________________________________________________________

12. _______________________________________________________________________________________________

13. _______________________________________________________________________________________________

14. _______________________________________________________________________________________________

15. _______________________________________________________________________________________________

16. _______________________________________________________________________________________________

17. _______________________________________________________________________________________________

18. _______________________________________________________________________________________________

19. _______________________________________________________________________________________________

20. _______________________________________________________________________________________________

21. _______________________________________________________________________________________________

Ch. 4 and ch. 9 questions

Provenance is a record that relates to the ownership of an artwork.  Provenance typically begins with the date of creation, and can include information on previous ownership, documentation of discovery, exhibition history, citations in exhibiting catalogues or historical writings about the work of art. Provenance is important because it can confirm an artworks authenticity.  Some works can have incomplete or missing provenance and must be attributed in other ways.  This is the case with work created by Leonardo Da Vinci.  Because Da Vinci used unique techniques and processes that no other artist working in his time used, his work can be traced using chemical analysis rather than a record of provenance.  I think this change has taken place because the history of works in not always trust worthy or even available and may require scientific analysis.


If it were up to me, Marcel Duchamp's readymade Fountain would have been juried into the first exhibition of the American Society of Independent Artists.  The work challenges preconceived notions of art and what can be considered art, the work challenged the beauty of art, it changes the way people view the ordinary object, and it changed the definition of what art is.  Because of this I would include this work into the exhibition.  At this time artists were rebelling against the traditional system of art, and this work goes a step further and rebels against those who are already rebelling.  If it were up to me a work would be juried into this exhibition based on the content and context rather then on physical appearance. 

Press Release draft

Zachary Hinkle, I Love You. $10,000 on wood. Dimensions

variable. 201

Contact: Zachary Hinkle

Telephone: (406) 591-0976

Email: zacharywaynehinkle@hotmail.com

Website: www.zachhinkle.com

Project Gallery

FOR IMMEDIATE RELEASE

Zachary Hinkle

Dead Presidents

October 5-November 15, 2017



Reception: Thursday, November 7 from 5:00pm-8pm*

*Artist talk by Zachary Hinkle will begin at 6:00pm

Free and open to the public.

Let’s be honest, humans love money. It’s a sad, but true fact that must be stated. Why is it that no other living organism needs money to survive besides us? Dead Presidents explores the strange and bizarre relationship humans have with money.

Dead Presidents is a free exhibition located in MSU-B’s Project Gallery on the first floor of the Liberal Arts building. The exhibit will run from October 5th-Novemeber 15th. Zachary Hinkle is a senior, and is working towards a Bachelor’s degree in Fine Art. This exhibition will mark Zachary’s Senior capstone show.

There will be a catered reception that is free and open to the public on Thursday, November 7th from 5-7pm. At 6:00 pm.




Liberal Arts Building 1st Floor, 1500 University Drive, Billings, MT 59101 t 406.657.2903 f 406.657.2187

Call for Proposals

I recently looked at three different websites that offer artists opportunities to exhibit work. Box 13 ArtSpace, Akimbo, and Minnesota Artists Exhibition Program all share similarities in their proposal guidelines. They all require a written proposal, no more than 500 words, digital work samples are needed, CV/ artist resume, and  numbered image lists are also required. These calls are all organized fairly well, although at times seem very dense and overwhelming. In terms of design I would say that the Minnesota Artists Exhibition Program's website is organized the best.  It is simplistic, easy to read, large font, and looks more professional compared to the other sites.  One thing I do not like about this exhibition call is that it requires two different writing samples.  Box 13 ArtSpace site is also nicely organized and has the important information in bold font.  I do not like the last few pages of the website, it seems to get crowded. I like the collaborative aspects of the call for proposal on the Akimbo website.  I do not like the website itself.  It seems to have too much going on and important information is not as clearly labeled as the other sites.

2017 Call for Art

2017 Call For Art

The art department of MSU-Billings is looking for artists to exhibit work in the Northcutt Steele gallery.  This call is open for all disciplines, however work must relate to the  and will offer cash rewards. The exhibition will run from April 6th to May 4th.

Deadlines

March 17th

Up to 3 artworks per student must be submitted digitally by this date.  Submissions will end at 4:30 pm. NO LATE SUBMISSION WILL BE ACCEPTED.

March 24th

Artists accepted into exhibition will be notified via phone or email.

March 31st

Artwork accepted into exhibition must be delivered to MSU gallery ready. NO LATE ARTWORK WILL BE ACCEPTED.

April 20th

Public opening reception: 5:00 pm-7:00 pm

Award ceremony: 6:00 pm

May 4th

All artwork must be removed from gallery by this date.

Awards

Best of show: $300

Exceptional 2-D work: $150

Exceptional 3-D work: $150

3 honorable mentions: $50

Submission Guidelines

All artwork must be submitted digitally. Images should be jpeg, 5 x 7" and 300 dpi.

All video work must be accompanied with a Vimeo link.  Videos less the 5 minuets must be labeled as a clip. 

Work submitted must be created while attending MSU.

Work must be considered finished prior to submission.

Photographs of work must be accurately represented; no substitutions will be accepted.

Work should not exceed 8' x  8' x 8'. Heavy or complex work must be set up by exhibiting artist.

Accepted artwork must be labeled properly. 2-D work must be label on the back and 3-D work on the bottom. The tags will be provided by the art office.

Accepted artists may be asked to provide written materials on their selected artworks gallery use.

All work must be gallery ready.

If you have any questions please contact Leanne Gilbertson at 406 657-2903.

Exhibition Label Final

Zachary Hinkle and Dustin Auerbach

Equilibrium

String, rocks, yarn, netting, mulch, dirt, pinecones, plastic, organic plant matter, mono filament, wood, and sound.

2015

6' x 9' x 20'

The natural world as we know it is infested with the fake, synthetic and inorganic. It is becoming harder and harder to distinguish the natural from the man made. This can have drastic consequences for the environment and its occupants if dramatic changes are not made.
Equilibrium takes the natural and synthetic drama in the gallery. This instillation guides the viewer into an imagined environment, where the natural and synthetic live in harmony and coexist for the better.  This work requires viewer participation and must be experienced first hand.  The work itself is a safe space were participants are free to engage one another, conversant, and interact physically with the work.

Drafting an Exhibition label

Zachary Hinkle and Dustin Auerbach

Equilibrium

String, rocks, yarn, netting, mulch, dirt, pinecones, plastic, organic plant matter, mono filament, wood, and sound.

2015

6' x 9' x 20'

Equilibrium is a collaborative site-specific instillation located in the Billings Open Studio, displayed for a one day exhibition Draw[evolve]. The work transports the viewer into an artificial environment, commenting on the complex relationship between the organic and the synthetic. The work is interactive and requires direct viewer engagement. 

The work is created out of a combination of organic and synthetic materials including: mulch, dirt, pinecones, rocks, leaves, pine needles, yarn, plastic, mono filament and wood.  The bottom of the instillations in covered with mulch and other organic matter, as well as balls of yarn.  The ceiling acts as a canopy and is created out of yarn, monofilament, and plastic netting.   This work was created as a way to spark a conversation about pollution and environmental awareness. 

Understanding the Art Muesum Ch. 3 Questions

Artwork chosen from the Metrapolotan Muesum of Art. metmuseum.org

Note in Pink and Brown

Artist: James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London)

Date: ca. 1880

Medium: Charcoal and pastel on dark brown wove paper

Dimensions: 11 3/4 x 7 1/4 in. (29.8 x 18.4 cm)

Classification: Drawings

Credit Line: Harris Brisbane Dick Fund, 1917

Accession Number: 17.97.5

[Foot]

Artist: Walker Evans (American, St. Louis, Missouri 1903–1975 New Haven, Connecticut)
Date: October 23, 1974
Medium: Instant color print
Dimensions: 7.9 x 7.9 cm (3 1/8 x 3 1/8 in.)

Classification: Photographs

Credit Line: Walker Evans Archive, 1994

Accession Number: D.1994.262.1011

Rights and Reproduction: © Walker Evans Archive, The Metropolitan Museum of Art

Aquamanile in the Form of Aristotle and Phyllis

Date: late 14th or early 15th century
Culture: South Netherlandish
Medium: Bronze; Quaternary copper alloy (approx. 72% copper, approx. 17% zinc, approx. 6% lead, approx. 3% tin).
Dimensions: H. 32.5 cm, w. 17.9 cm, l. 39.3 cm, wt. 6062 g.
Classification: Metalwork-Bronze
Credit Line: Robert Lehman Collection, 1975
Accession Number: 1975.1.1416

The MET provides the title, artist, date, culture, medium, dimensions, classification, credit line and accession numbers on the labels of artwork in their collection. Work with an unknown artist, such as the work titled Aquamnile in the Form of Aristotle and Phyllis are identified by culture and date rather than artist. If the artist is known, information about the artist is noted in parenthesis, such as birth and death, and location.

A gallery I have recently visited is the Northcutt Steele Gallery at MSU.  The gallery is currently displaying contemporary work produced by an array of faculty in an exhibition titled the MSUB Faculty Exhibition.  The work displayed encompasses sculpture, painting, ceramics, new media and collage.  The two dimensional work is displayed on the walls of the gallery, grouped primarily by series.  There is sculptural works spread throughout the floor of the gallery. The works are arranged in a way that promotes viewer interaction and engagement. The humidity and temperature of the gallery felt perfect, not too moist and not too dry. The temperature was in the mid to upper sixties and was not too warm and not to cold. It is clear that the gallery staff took the proper accommodations to assure the preservation of the work.

Kiki Smith

Kiki Smith's instillation Walking Puppet transforms the stairwell of the Pace Wildenstein Gallery into an exhibition space.  This work prevents anyone from entering the stairwell and uses the architecture of the building to its advantage.  The work itself is a large white puppet that appears to have been abandoned in the stairwell.  The work confronts the viewer and occupies the space in a way that is bold, transformative and beautiful.

Bill Viola

Bill Viola's video piece Inverted Birth engages physically with the space it occupies. The work was projected on a gigantic screen with a orchestra playing in the center of the stage of the Walt Disney Concert Hall. The video showed a person be drenched in a dark liquid, which slowly became cleaner and cleaner, ultimately cleansing the person. This work was performative and engaged the viewer directly.

Jenny Holzer

Jenny Holzer's projection I Feel You interacts with the physical space. The work physically transforms this hillside located in San Diego.  It is no longer a meaningless piece of land, now it is a work of art that appears to reassure the viewer that they are felt.

2017 Faculty Exhibition at the Northcutt Steele Gallery

Functional Considerations:
While walking through the Northcutt Steele Gallery I found no problems with the traffic flow. I was able to safely maneuver around the gallery without breaking a single piece of art. Which is pretty good. I would say that the gallery staff organized the show very well, and thought long and hard about how to arrange the work in a way that would preserve it for future viewer consumption.

The materials used to create the work displayed in the gallery very greatly from one another. Some display fragile qualities, and other feature stability and balance. Materials used in the Faculty Exhibition include corn flour, acoustic ceiling tile, walnut cane webbing, paper, ceramics, oranges, sponges, epoxy resin, hand-cut Mylar, etc. Mark Earnhart's work Credenza is stable, and structurally sound, but may appear to not be. Some of the work by Mara Pierce seems very fragile and delicate, as well as Jodi Lightner's.

I found the height of the labels was adequate for anyone to read. I also found the work itself to be hung at a comfortable height.
I found the show to be safe, I was in no way, shape, or form injured while viewing work in the gallery. This space would be safe for any man, baby, or woman.

The typography is easy to ready and large enough to see clearly and legibly. I did notice however that on Mark's work Credenza it says the date 2015, but on his website it says 2013. This may be a typo.

Formal Considerations:
The typography used throughout the show is bold, simplistic, easy to read, and does not detract from the work itself.  The simplistic font choices and large text provide the viewer with all of the necessary information including artist, material, year of creation and price. One exhibition I can think of where the written materials where effective would be Mark Earnhart's exhibition in the same gallery titled Kayfabe. I found this show's written materials so effective because it was primarily kept in binders at the entrance of the Northcutt Steele Gallery.  The work did not have labels next to them and I liked that aspect.

The work within the gallery displays visual unity.  Everything in the gallery appears to flow well and has a clear beginning and end.
I would like to see more work by Ben Steele in the front space. It seems barren and empty.

The show does not seem to have a visual style. The work that are included is a mix of contemporary and abstract works and do not have one distinct visual style.

Conceptual Considerations:
The 2017 Faculty Exhibition displays artwork from current and past MSU professors.

The work is displayed in a way that creates a fluid sequence allowing the viewer to start at any point in the exhibition, without changing the overall concept of the exhibit. The  use of a fluid sequence is effective because it allows the viewer to wander throughout the gallery randomly

Visitor observations:
It would be hard for me to know for sure what the most popular or least popular aspect of this exhibit would be for a visitor under the age of 25. All I can say is that I personally did not find anything offensive or distasteful in the gallery. I am under the age of 25 and I think the work of Jodi Lightner and Mark Earnhart would be most popular amongst my age group. I don't think anything would be unpopular with the exhibition for a visitor under the age of 25.

I think people over 25 would find the work done by Ben Steele, John Pollock, and Neil Jussila to be most popular. I think these artists would be popular amongst an older crowed because they are past professors. I think people may find the oranges on the ground unpopular. They may find them to be hazardous.

The work in this exhibit allows people to share their experiences with one another.  I say this because some of the work is interactive and requires viewer interaction.  The work of J. J. Higgins and Mark Earnhart are interactive and can engage multiple viewers at once. I feel that people may not always take the opportunity to interact with art because they don't know they actually can.  People are taught to not touch or interact with artworks displayed in a gallery. I would make it very clear that the work is interactive and must be engaged by the viewer.

If I could change one thing I would provide more information about the exhibiting artists.