Alternative Art Space
BLINDSIDE is located at Level 7, Room 14, 37 Swanston Street in the historical Nicholas Building in the CBD. The building also houses numerous artist studios, other galleries (Caves Gallery and Stephen McLachlan Gallery) and has an open house every year. The historical nature of the building and basic exhibition space appeals to cutting edge and emerging artists and an alternative audience.
"Housekeeping" Sound series 6th May - 6th August 2017 Eamon Sprod - installation of everyday objects with audio Felicia Atkinson - soundpiece, digital films with audio, digital prints on brushed aluminium, sculpture Exhibition Listing - Soundpiece -Stick and stone, 2017, Soundpiece for 4 speakers, 17.00min, Edition of5 Centre - The only luggage of a lonely wonderer, 2017, 3mx3m Clockwise from door - Resonant Spring 1 2 et 3, 2017, digital print on brushed aluminium, diameter 30cm, Edition of 1 each, Film 1, midi controllers, 2017, digital film with audio 4.10min loop, Edition of 5, Film 2 aluminium, 2017, digital film with audio, Edition of 5
AIM - ALTERNATIVE ART SPACE -an alternative art space is generally a physical or virtual space other than a traditional gallery space -the artwork and artists may also be quite different to those of a traditional gallery space eg. street art Examples: -artist run spaces - can be the promotion and exhibition of emerging and experimental artists -cafes, restaurants, shop fronts - artists that use these particular spaces are generally responsible for hanging and promoting their work and pay little to no commission. Some businesses engage in this practice in order regularly change the visual appearance of their space without the monetary outlay -many public and commercial galleries present curated online exhibitions and online art performances and projects
AIMS - BLINDSIDE GALLERY BLINDSIDE is an artist-run-initiative (ARI). ARIs are generally not-for-profit art organisations that support and exhibit both emerging and established artists. ARIs are often viewed as 'grass-roots' establishments. - shows work from all fields of creative endeavour, including but not limited to painting, sculpture, sound, installation, moving image, performance, conceptual art, ephemeral art and non-material work. -are able to support a large number of artists a year. Unlike larger institutions, there is a quick turnaround and often multiple spaces offered to artists -offer a space without the pressure of sales, a space that can engage art, artists and audiences across various levels. They have different imperatives and can show work that can't be sold or is difficult to sell. They offer a space for experimentation and a space for artists to develop an exhibition practice.
CONSERVATION AND PRESERVATION -formal approaches to conservation and preservation may not be adhered to because of space type and money required -in general, artists are responsible for delivering, framing, installing and dismantling the artwork. They may also be responsible for 'sitting' the gallery space to minimise inappropriate treatment, handling, damage or theft
CONSERVATION AND PRESERVATION N/A -no storage of artworks at Blindside. Artists are responsible for any protection measures taken.
OTHER - exhibitions change every three weeks, generally showing two or more artists in one cycle. - The board works in conjunction with a paid gallery manager (Martina Copley), who looks after the exhibition program and liaises with artists; and with a group of Associate Members who work in a volunteer capacity and perform various roles within the gallery, such as Website Administrator, Public Program Coordinator, Education Program Coordinator and Gallery Invigilators who sit the gallery. (10 volunteers) - photography interns are asked to take images of the gallery for promotional purposes
CONSERVATOR -the artist is responsible for any conservation methods - artworks are generally not stored at the art space and are transported by the artist themselves
CONTROLLING DAMAGE CAUSED BY HUMANS --artists generally invigilate their exhibitions -at times, gallery staff or volunteers man the exhibitions -artists are responsible for framing any artworks that need protection -the artists is responsible for any signage pertaining to the 'not touching' of any artwork
CONTROLLING DAMAGE CAUSED BY HUMANS -the artists and Blindside volunteers invigilate the space -artists are responsible for framing any artworks that need protection - no 'do not touch' signs or barriers
CURATOR -in general, it is up to the artist, or group of artists, to curate their exhibitions, which may include tasks such as preparing a catalogue, artist statements, liaising with artists about their work and deciding on artworks to be displayed -in some cases a freelance curator may be employed
CURATOR -In general, most shows exhibited at Blindside are curated by the artists themselves. They apply for an exhibition and work independently from the gallery to put together the concept for the exhibition and liaise with the artists and/or writers involved to source work, text and installation support for the show. The artist(s) may ask for advice from the gallery manager, but ultimately they have the final say on how artwork is installed as long as it complies with Occupational Health and Safety (OH&S) guidelines. -Blindside also runs a series of curated projects every year, including Screen Series (video) and Sound Series (audio). These projects are supplemented at the beginning and end of each year by Debut (a selection of work by recent graduates) and Curtain Call (an exhibition which invites artists who have shown at BLINDSIDE to return and exhibit work in a new context). In these cases the gallery manager and curator will work with the artists to determine the layout and installation of works.
In Gallery 2 -Both galleries did not offer any seating -the lighting in Gallery 1 is natural light and fluorescent, while the lighting in Gallery 2 is dark, allowing for the projections in that space. There is no seating to allow for rest to view films.
Curatorial Material - Group exhibition 1. Audio/visual material - pipe and work desk installation, oil paintings, video pieces all discuss concept of sound and sensations, primarily concerned with the nature of sound ie. the materiality of sound, whether it is real or not, the origin of sound and if we can ever really know where it comes from and finally, the connections of sound with reality 2. SOUND SERIES: STICKS AND STONES (2-19 AUGUST 2017) "An exhibition by Félicia Atkinson is a particular event, a window in which the artist's writing, music, sound composition and visual essays come into an alignment to our eyes and ears. It's an antiphony. Each part answers or echo another. It's a mise-en-phrase. It's audio-visual language staged and timed. But stretched. For this first exhibition in Australia, Félicia Atkinson will create new works and a new chapter of a novel started in 2015 A Forest, Petrifies. The artist will continue her exploration of forests and deserts with processes of decomposition, trace making and muffling and present specific forms for infinite variations." 3. SOUND SERIES: HOUSEKEEPING "Housekeeping is an installation for sound and object, generated from the artist's collection of found detritus amassed over many years. Drawing attention to the small, overlooked objects that populate and litter our existence, Housekeeping brings to life the fetishised yet neglected world of these everyday objects, animating them physically through sound and via collage/assemblage-based compositional techniques. Oblique narratives are shaped into a hermetic sonic environment. At the completion of the installation the majority of the objects contained within it will once again be discarded: Housekeeping. 4. Exhibition Listing - Soundpiece -Stick and stone, 2017, Soundpiece for 4 speakers, 17.00min, Edition of 5 Centre - The only luggage of a lonely wonderer, 2017, 3mx3m Clockwise from door - Resonant Spring 1 2 et 3, 2017, digital print on brushed aluminium, diameter 30cm, Edition of 1 each, Film 1, midi controllers, 2017, digital film with audio 4.10min loop, Edition of 5, Film 2 aluminium, 2017, digital film with audio, Edition of 5 5. Wall panels with text and imagery - pictures below Artist present - Felicia Atkinson performance piece 3rd August 6:30pm
Felicia Atkinson Atkinson's multifaceted work embraces improvisation, science-fiction, composition, chance, noise, abstraction and poetry. 'Stick or stone' has been developed along the continuum of her practice, infused with research on Australian native plants, and reflects her process of making, reading and recording at Bundanon and on the Australian East Coast. Atkinson is interested in 'more-than-human relations, between us and landscapes and plants, to the connections that exist beyond the ordinary binaries of statis and movement, sounds and silence, physical and psychological, terrestrial and cosmic, present and science-fictional time". "An exhibition by Félicia Atkinson is a particular event, a window in which the artist's writing, music, sound composition and visual essays come into an alignment to our eyes and ears. It's an antiphony. Each part answers or echo another. It's a mise-en- phrase. It's audio-visual language staged and timed. But stretched. For this first exhibition in Australia, Félicia Atkinson will create new works and a new chapter of a novel started in 2015 A Forest, Petrifies. The artist will continue her exploration of forests and deserts with processes of decomposition, trace making and muffling and present specific forms for infinite variations."
Curatorial material - an A3 double sided poster/flyer provides information about the curatorial concept, artists' names, images and title information and sponsorship logos -sheet supplied with artist names, titles, media and year Exhibition design - there are two small gallery spaces. In Gallery 1 a large work has been positioned to hang from the centre of the room, allowing the audience to walk around the work. -video monitors are not in darker spaces but are on individual walls to enable immersion into the stimuli with headphones to further isolate -First impression - sound exhibition eerie sounds tell you it is experimental work, conceptual, large sculpture of pipe hanging in mid air - non-traditional art style · First impression - sound exhibition eerie sounds tell you it is experimental work, conceptual, large sculpture of pipe hanging mid air - non-traditional art style · Grouping of artworks - flow throughout exhibition, mediums of art grouped together - art forms separated, video installations on walls near each other, sculpture centers room, ties it all together, oil paintings separate wall, larger installation with many parts in separate room, also separated by artist, eg. one space dedicated to Felicia Atkinson
DIRECTOR -financial decisions, development of marketing strategies, allocation of gallery staffing roles -in some cases may not be a 'director', in the case of cafes or restaurants, but the owner of the alternative space or person nominated by the owner to liaise with artist/s
DIRECTOR - The Board of Directors consists of voluntary members who are curators, artists, academics, arts managers or other arts professionals. Exhibition proposals are reviewed and assessed by the Blindside Artistic Directors who program the annual calendar of exhibitions.
EDUCATION -alternative art spaces do not generally offer formal education programs, though some may exist in this category
EDUCATION -As part of BLINDSIDE's interest in professional development, artists are also offered the opportunity to present a public talk at BLINDSIDE on the work they have exhibited and their art practice. -offer an educational program, which is specifically tailored to the VCE Art and Studio Art curricula.
EXHIBITION DESIGNER -in general, it is up to the artist, or groups of artists, to design the layout of the artworks in the exhibition space, to decide on a colour to paint the walls (this would need to return to its former state in the dismantling stage), the installation of any temporary walls etc. -in some cases a freelance exhibition designer may be employed eg. digital design on an online exhibition
EXHIBITION DESIGNER -no formal exhibition designer on staff - Artist(s) undertake the installation of the work themselves and are also responsible for returning the gallery space to the condition in which they found it -in the case of the curated show, such as 'Displaced Agency' a Blindside curator would decide the layout, but the artists would install and uninstall the work, making sure any damage to the gallery walls or floors are repaired to the original condition
DESCRIPTION OF PHYSICAL SET UP Entrance to the gallery is attained from either walking upstairs or using the elevator. A handmade sign directs your passage to the front door that has a sticker promoting "Blindside" BLINDSIDE's Gallery One exhibition space is 40 square metres with a ceiling height of 3.4 metres. The long north-facing wall of the gallery is made from MDF. All other walls and the floor are concrete. There is a large window facing providing natural light during the day. Gallery Two is 25 square meters with a ceiling height of 3.4 metres. The west and south-facing walls of the gallery are made from MDF and the remaining walls and floor are concrete. This room has no windows and can be darkened effectively for video or other works that need controllable lighting conditions. Gallery Three includes BLINDSIDE's admin area and a Plasma TV showcasing PLAY - a curated space featuring a rotating display of new and experimental video in the gallery. -walls were white and the concrete floor dark grey
Eamon Sprod Housekeeping is an installation for sound and object, generated from the artist's collection of found detritus amassed over many years. Drawing attention to the small, overlooked objects that populate and litter our existence, Housekeeping brings to life the fetishised yet neglected world of these everyday objects, animating them physically through sound and via collage/assemblage-based compositional techniques. Oblique narratives are shaped into an hermetic sonic environment. At the completion of the installation the majority of the objects contained within it will once again be discarded: Housekeeping. Audio/visual material - pipe and work desk installation, oil paintings, video pieces all discuss concept of sound and sensations, primarily concerned with the nature of sound ie. the materiality of sound, whether it is real or not, the origin of sound and if we can ever really know where it comes from and finally, the connections of sound with reality.
FUNDING -depending on the space, funding is not always required -in general, any costs are self-funded by the artist/s -in some cases a commission or rental fee is charged -artists sometimes obtain funding from arts organisations or an independent source in order to present their work in an alternative art space
FUNDING -is not-for-profit. ARIs do not make money by selling art. Exhibiting artists pay a gallery rental fee and any sales go directly to the artist with no commission taken. (exhibitions generally 3 weeks in duration) - BLINDSIDE seeks opportunities for funding from Arts Victoria, the Australia Council and the City of Melbourne. This funding allows us to expand our program of curated exhibitions, to invite artists to exhibit or perform, and offer artist/curator/writer fees. Seek funding sourced from sponsors or donations to reduce fees for artists
In Gallery 1, -flat screen television monitors were mounted onto the walls with brackets. -power leads were visible, but were sporadically taped into place in the corners of the space ie. Between walls and between floor and walls - there are no lighting issues due to the video nature of the work, temperature and humidity are not controlled, no "do not touch signs", no barriers to prevent contact with work, no alarm or vide monitoring, but there is a gallery attendant
INVITATIONS: BLINDSIDE promotes exhibitions via an email invitation to subscribers and via social media like Facebook, Twitter and Instagram. WEBSITE: The BLINDSIDE website has recently been redesigned and we are working to expand its content to include new formats and material like artist interviews. Images and catalogue materials are viewable online as are public programs and artist talks. FREE LISTINGS: We list exhibitions in Art Almanac, Art Guide and online. PAID ADVERTISING: Paid advertising in publications such as Broadsheet, Art Guide and Un Magazine is considered for curated projects when the budget allows. Artists may choose to advertise independently in publications as well. ARTIST NETWORKS: Exhibiting artists promote their exhibitions via their networks and each group of shows brings a new audience.
LIGHT - CONTROLLING LIGHT EXPOSURE -in alternative gallery spaces such as shops or cafes, conventional gloves, fluorescent and natural light sources may be used - these are less than ideal for the preservation of work, but are generally displayed for short periods of time
LIGHT - CONTROLLING LIGHT EXPOSURE -has natural light from window and fluorescent lighting (very damaging to artworks) - effect on artwork would be negligible due to the short duration of display
Exhibition designer - artist decides with support from gallery staff but no specific curator or exhibition designer - sense of freedom, artist fully in control eg. Just communicate with staff re structural possibilities like if a beam can support a hanging installation · Exhibition space - basic space, simplicity, white walls enhance discussion of the conceptual, plain walls focus attention on the artworks, windows on the wall reminder of simplicity of space, wiring above art on wall - industrial feel, no elements of the running of the gallery hidden - all exposed, piece of fabric hanging on door apart of specific exhibition - heavy, dark, grey material pinned by staples must lift to enter enhance the conceptual theme of sensations the artists are preoccupied with - sounds, visual work in the video, words and now the feeling of the fabric enhances the feeling of sensations the viewer is surrounded by as soon as they enter the room · Artwork viewing - easy to view, plenty of space around each, wide space, large wall space despite relatively small gallery as a whole, however in the room separated by a piece of fabric covering the door it is much smaller and dark
Lighting type - main exhibition room: bright, stark lighting, window also provides light source, open space, evenly lit. smaller exhibition room: dark, few lights around installation work but yellowy unlike the white lights in the other room -audio levels were pleasant and not overwhelming or inaudible -the exhibition leads you easily through the space with only one obvious direction to go -other works - what were they, how mounted/displayed, how set out, distance between each other etc. -information available is minimal. No artist biography? - Sprod? -2 colour A3 colour flyers were stacked in the corner near the entrance. These had images of Atkinson's work on one side and imagery, basic biographical information, and ideas behind her work. -text panels explained ideas behind the work - anything else - title, year medium??. Text panels were located near the entrance, rather than near the artworks - used easy to read black text -the artist has positioned a speaker in the corner at the entrance, allowing the sounds to access the whole room -between gallery 1 and 2 there is a curtain draped in the doorway. This allows the artist to close off the natural light into Gallery 2 to allow a darker room
MARKETING AND PROMOTION -artists generally promote and fund their own exhibitions unless the space has existing procedures and methods in place to do this -artists use local press, friends, community contacts and online networks to publicist their event -sometimes art spaces include some promotion methods eg. database of clients and communication networks
MARKETING AND PROMOTION INVITATIONS: BLINDSIDE promotes exhibitions via an email invitation to subscribers and via social media like Facebook, Twitter and Instagram. (over 2500 people) WEBSITE: The BLINDSIDE website has recently been redesigned and we are working to expand its content to include new formats and material like artist interviews. Images and catalogue materials are viewable online as are public programs and artist talks. FREE LISTINGS: We list exhibitions in Art Almanac, Art Guide and online. PAID ADVERTISING: Paid advertising in publications such as Broadsheet, Art Guide and Un Magazine is considered for curated projects when the budget allows. Artists may choose to advertise independently in publications as well. ARTIST NETWORKS: Exhibiting artists promote their exhibitions via their networks and each group of shows brings a new audience. · Social Media · Emails sent to subscribers (over 2500 people) · Use of website · Artist can invite family or friends to come view their artworks · No signs or banners · No retail area of any kind
STORAGE -in general, no storage is required at the gallery, as the artist sets up and dismantles the exhibition
NEW MEDIA ART PRESERVATION/CONSERVATION -it is up to the artist to be responsible for any conservation issues pertaining to: polyester film, magnetic media (video cassettes, hard drives, audio cassette tapes) and culturally valuable digital forms (social networking sites and blogs, online photo albums, websites and email -new media forms are subject to the challenge of being obsolete as technology evolves at such a fast pace - digital data can deteriorate rapidly without warning and become irretrievably lost. Access to 'obsolete' technology may render previous documents irretrievable.
PEST CONTROL -alternative art spaces are generally clean, but do not usually use traps, fumigation, a formal monitoring program -artists are responsible for mounting and framing their work in such a way as to protect them from insects
PEST CONTROL --alternative art spaces are generally clean, but do not usually use traps, fumigation, a formal monitoring program -artists are responsible for mounting and framing their work in such a way as to protect them from insects
TEMPERATURE AND HUMIDITY -artist run spaces tend not to have air conditioned spaces, due to financial reasons -alternative spaces, such as cafes and restaurants can have air conditioning, but it is not able to be controlled for the entire time of display - no control of humidity
TEMPERATURE AND HUMIDITY -there are no means of controlling the temperature or humidity at Blindside - doors are left open for easy entry to space - issue not deemed problematic due to the small duration of exhibitions Space can get hot in summer due to sun coming in through window but cold in winter which may warp some works due to the changing of temperature
