Commerical Gallery
AIM - COMMERCIAL GALLERY To make money through selling and/or lending contemporary and historical artworks to art collectors and/or the public. Commercial art galleries operate as businesses to make a profit for the owners of the business.
AIMS - FLINDERS LANE GALLERY Flinders Lane Gallery is a privately owned commercial gallery. As such we are not government funded, and rely solely on sales of artwork to run the gallery. The Director of Flinders Lane Gallery is Claire Harris. All exhibitions are curated by the Director and her knowledgeable, professional team. We run a rotating exhibition programme throughout the year, with a new exhibition every three - four weeks. The artworks shown range from contemporary Australian figurative and abstract paintings and sculpture through to contemporary Indigenous paintings. Our exhibition calendar is available to view on our website through the Exhibitions section. In this section, you can also view images of our current and past exhibitions and information about the artists
CONSERVATOR -owners of commercial art galleries may employ a freelance conservator on occasions to ensure that the artworks in their care are stored and exhibited appropriately - if damage occurs, the gallery owner will outsource the restoration process to a freelance conservator -work in a gallery stockroom may be sold so long-term restorative conservation practices are generally not relevant
CONTROLLING DAMAGE CAUSED BY HUMANS · Alarm system present · No "do not touch signs"
CURATOR -the owner of the gallery will generally take on the curatorial role -plan, coordinate and research current and future exhibitions, maintain records of artworks on loan -liase with artist when working on exhibitions and have an awareness of conservation and preservation -write catalogues or other print material relating to exhibtitions
CURATOR In conjunction with the artist, all exhibitions are curated by the Director, Claire Harris and the FLG team. The Director designs the presentation of each show, which includes the mood, layout, the positioning and hanging of artworks, and the lighting design. There is no need for environment controls as the gallery temperature and humidity are within a manageable range. Works also turnover at a high rate so there is no long term storage. All exhibitions are curated specifically for the artwork being exhibited, in a layout that best presents the work in a compelling way. The lighting used is a cool light, and all exhibitions are presented with signage and a catalogue essay to accompany each show, as well as a list of artworks and prices.
CURATORIAL CONCEPT Catalogue essay by Abbra Kotlarczyk, 2017 In the opening and closing scenes of David Lynch's Lost Highway, a succession of slender, broken yellow lines flicker at centre screen. These lines—the spine of a highway stretch—create a force field around an otherwise tortuous and entangled plot. As if standing in as narrator, the lexicon of the highway appears at various points throughout the film to re-centre its tangential meanderings. In a series of new drawings and prints by Northern Rivers artist Christine Willcocks, the yellow insignia of highways and pedestrian passageways exist as a placeholder to re-orient us; through rural, urban and psychogeographic spatial scores. Reminiscent of these Lynchian lines, yellow ink is employed as a framing device to contour and contain a suite of more incidental leitmotifs. In a sparing effect, minimal geometric abstraction rubs up against more embroiled monochromatic imagery of trees, mountains and rocks. This pairing announces a stylistic re-enactment of the experience of moving between landscapes and physical and psychological thresholds. For this new series of works, Willcocks draws on her protracted encounters in various natural and urban landscapes; from the rainforest of her home and the central mountain district of New Zealand, to the cobbled streets of Paris and Melbourne.
CURATORIAL DETAILSL/EXHIBITION DESIGN; METHODS AND CONSIDERATIONS IN PRESENTING EXHIBITION To the left of the entrance of the gallery space are information sheets that include a catalogue essay, artist biographical information, titles and prices of work. The southern wall has minimal works displayed on it and acts as the title wall; the name of the artist and exhibition title is in black capital letters centred at the bottom of the wall, above the skirting board. The framed artworks are hung at eyeline by the wires hanging from the tracking system causing a slight downwards tilt towards the viewer. The artworks on each of the four walls are all framed in a thin neutral coloured wooden frame, that use either off white matting or spacing to separate the clear glass from the artwork, to protect it from dust, insects and moisture damage. A sculpture is displayed in the centre of the room on a white table creating a circular pathway in which to view all the artworks surrounding it. The framed works are, at times, grouped together with similar subject matter, but mostly juxtapose realistic and abstract subject matter, large works with small works - these groupings create a sense of kinetic energy and movement.
"Wild Rocks & Tamed Pathways" 18th July - 5th August 2017 ARTIST/S AND ARTWORK/S REPRESENTED IN EXHIBITION Christine Willcocks 15 artworks - monoprint transfers, graphite and ink on paper, graphite and acrylic on paper, digital image and collage, sculpture of painted rock and powder coated steel
DESCRIPTION OF PHYSICAL SET UP Flinders Lane Gallery is in an historical building in the Arts district of Melbourne. Although the walls are painted white for a contemporary feel, it still has many architectural features such as pillars, elaborate skirting boards and ceiling and dark parquetry floors that create a sense of history and tradition. Flinders Lane has two small gallery spaces, one very small showroom, an office/reception area and multiple stockrooms, each accessed by an open doorway. Gallery 2 if 4 x 7 metres and has three metre high white plaster walls built in front of the original walls that mostly cover the traditional windows, a source of light within the space. A rectangular track lighting frame is suspended a metre below the ceiling focussing the lights on the artworks and secondary walls, leaving the original walls in shadow. At the top of each of the walls of the space is an aluminium hanging tracking system that uses thick metal wires that can be moved and adjusted both horizontally and vertically.
EXHIBITION DESIGNER -the director and/or gallery manager will, in collaboration with the exhibiting artists, generally be involved in the design and presentation of the exhibition, including determining the physical flow and overall aesthetic of the exhibition. Sessional staff may also be employed to hang/install work. -create a floor plan of exhibition space and may work with someone in a curatorial role to decide placement of artworks within the space ie. Height, distance between works. -offer advice on framing and presentation of artworks
DIRECTOR -the owner(s) generally take on this role -financial decisions, development of marketing strategies, allocation of gallery staffing roles, research and selection of stable of artists they represent, collaborates with other staff and the artists the gallery represents
EDUCATION -generally do not offer an education programs -offer clients advice on framing, transport of artwork -educate clients about art and art collection -student visits may, at times, be organised and should always be pre-arranged for courtesy, security and OH & S reasons
EDUCATION -Education kit for Art students on website -Students are not allowed to speak to gallery staff CONSERVATION AND PRESERVATION -are generally responsible for more short-term aspects of conservation while the artwork is being exhibited and stored in the stockroom
FUNDING -commissions charged by the gallery on the sales of the artworks (15 - 50% of the sale price) - generally, the more successful the gallery, the higher the commission -exhibition fees - artist contributes to costs involved in an exhibition ie advertising, invitations, catering costs for the opening -Art sales are through: solo/group exhibitions, gallery stockroom, commissioned works for clients -some commercial galleries, called hire galleries, rent out the gallery space to artists or groups of artists who curate their own exhibition. -Hire Gallery - A set fee is charged for a specific time period (generally around 3 weeks). Generally no commission is charged, or at worst, a low commission is charged (10-20%). -Hire gallery - the artist/s are responsible for curating, installing, promoting and sitting the space for the duration of the exhibition
FUNDING The artists who exhibit at Flinders Lane Gallery are represented by the Gallery and are part of a stable of artists - ie. the main gallery space is not available for hire bu external artists. A standard private commission structure is applicable to these artists, and exhibitions. All works exhibited are available for sale. Represented artists are selected by the Director Claire Harris on the basis of quality of work and the strength of exhibition history.
LIGHT - CONTROLLING LIGHT EXPOSURE -generally use halogen lights on track systems -generally have some natural light - damage caused by lighting not seen as important due to the short nature of exhibition and storage
LIGHT - CONTROLLING LIGHT EXPOSURE · No light control (large windows allowing large amounts of natural light to stream into the exhibition
MARKETING AND PROMOTION - have a database of collectors who buy work from them on a regular basis (information/invitations sent to these collectors via this mailing list (print media and digital) -offers previews to serious art buyers -promote current and future exhibitions through gallery website, newsletters, advertising in specialist magazines such as Artlink -directors must be selective in the choices regarding the stable of artists they represent, as their artworks need to sell for the gallery to make money and stay in business -may sometimes have sponsors for certain exhibitions ie local businesses and organisations -artists may also receive a grant to have an exhibition in a commercial gallery context
MARKETING AND PROMOTION -Gallery sign outside gallery -Pamphlets on each exhibition on glass tables near exhibition spaces -A4 page - titles and prices of artworks -flyer detailing advertising for the 2017 calendar featuring some of the artists currently exhibiting ie. Ken Smith, Christine Willcocks, Sarah Amos etc. -Webpage - upcoming exhibitions, artists represented by gallery, programme for special talks, media coverage · There are only the 2 logos of the exhibition on the outside of the building but once you walk in there are pamphlets on a glass table -In the showroom on the left hand side of the entrance is a table that contains various artworks and catalogues of the various artists the gallery represents -there were statements listing artists works in the stockroom, along with info. Regarding themes, process, biography, education and prizes -panel and preview of artwork by an artist that would be coming to the gallery space - brief description of artist and what exhibition will entail -next to the office space a table held flyers and documents that the public could take for extra information about the artists and their works INVITATIONS: WEBSITE: The FLINDERS LANE GALLERY. Promotions for the gallery and exhibitions are made through art magazines such as Art Almanac, Australian Art Collector and Artist Profile; invitation cards and emails distributed to our mailing list; and via the internet and various avenues of social media. Some adverts are paid for by the gallery in order to guarantee the promotion of the exhibitions, and other media is distributed and published based on editorial submission selections
KEN SMITH: Coast Light THE CURATORIAL CONCEPT: Simon Gregg was the acting director of the exhibition Cleanly and orderly display the artworks to enhance their colours and landscape shapes To layout the work in a simple manner to draw the attention to the artwork to entice the public to buy the artwork The series of photos are easily visible from outside, enticing viewers to see a range of his works The simplicity of the layout reflects the painting style and subject matter, relating to the artist's meaning of the simple layout. The artist has done this to project the feeling of a wide landscape. When walking through the doors of the gallery, the first artwork visible is artwork 1 by Ken Smith, 'River'. Unlike the rest of the works, this is presented on a black background wall, enforcing it to be the body of the work. KEN SMITH: Coast Light THE CURATORIAL CONCEPT: Simon Gregg was the acting director of the exhibition Cleanly and orderly display the artworks to enhance their colours and landscape shapes To layout the work in a simple manner to draw the attention to the artwork to entice the public to buy the artwork The series of photos are easily visible from outside, enticing viewers to see a range of his works The simplicity of the layout reflects the painting style and subject matter, relating to the artist's meaning of the simple layout. The artist has done this to project the feeling of a wide landscape. When walking through the doors of the gallery, the first artwork visible is artwork 1 by Ken Smith, 'River'. Unlike the rest of the works, this is presented on a black background wall, enforcing it to be the body of the work.
PHYSICAL FEATURES: Displayed on 6 walls 12 artworks small and large, the large ones dominated one whole wall, whereas the smaller ones were presented in a line, demonstrating them similar to a series of artwork All artworks were displayed on a white wall though one was on a painted black (possibly temporary) wall, with the purpose to highlight the colour in it through the contrasting colours The room with the exhibition was open, almost being visible from the street and exposed to the air entering the room when the single door opens from the street All the artworks were framed in a white frame with a glass covering, and hung with wire from the ceiling The images were hung at 'eye level' approximately 155 cm from the floor There was a flood light directed onto the artwork hanging on the black wall and spotlights projected onto the other artworks. All lights were LED There was no sign warning 'no touch', leaving it up to the responsibility of the public and gallery to solely conserve the artworks There was also no aircon or heater on, giving no indication of the temperature of the room, questioning the environment of the artworks ARTWORKS/ART FORMS: 12 artworks The artworks where an assortment of acrylic or oil on canvas or panel Featuring images of the landscape or seaside views, almost as if the paintings were photographs
STORAGE Stockroom - allows the gallery to show a range of artists work beyond the formal exhibition space -for many commercial galleries, it is a matter of storing artworks on shelves, on the floor, hung on a gallery office or any space that is available.
STORAGE Open storage unit at the far side of the exhibit (walled off by a rope) where artworks were placed Air con