What Is the Difference Between Curated and Juried?

I frequently hear the terms "curated" and "juried" mixed up or misused, used interchangeably for the other when the terms are distinctly different.

Do you know, "What's the Difference between 'curated' and 'juried'?"

Yes, both curators and jurors select work, but there is a BIG difference.

A CURATED EXHIBITION
A curated exhibition means the "curator" is responsible for selecting the theme, conceptual focus, title, AND work. The curator has significant, if not authoritative input from start to finish, from selecting the theme, finding artwork that supports the curator's interpretation of the theme, along with input into the exhibition installation and catalog. 

Curator James David Draper
Curator at the Metropolitan Museum of
Art Department of European Sculpture
and Decorative Arts looking at an angel
sculpture attributed to Michelangelo.
Photo from NY Daily News

A well-curated show is a finely tuned cohesive selection of work to support the premise of the curator. The act of selecting the work reveals the curator's creativity and intellectual process. A well-curated exhibition is a masterpiece. This is why great curators are so highly regarded.

A curated exhibition may or may not extend a "call for entries." Usually, each curator considers him or herself as expertly informed about the artwork they want to include in an exhibition. Research on the curated theme is part of the curator's process. On the other hand, occasionally a curator may extend a call for submissions to explore or find images of new work that may be as yet unknown.

A JURIED EXHIBITION

In contrast, a juried show always has a call for entries. 

The exhibition sponsor chooses the theme of the exhibition, extends a call for submissions, and invites jurors to select only from submissions what they feel best represents the theme or premise of the show.

A juried exhibition has one or more jurors select the work (and the exhibition sponsor seldom participates in the selection of work).

Usually, the jurors do not see the names of the artists. Since the selection of work is limited to the work submitted for juried review, the outcome is unpredictable and may not support the theme in a cohesive manner.

Sure, the jurors can select anything from the pool of work submitted, but the jurors can not invite artists to submit specific works. If they have a preconceived idea about the theme, and work is not submitted to support a particular train of thought, there is nothing a juror can do. This relative lack of control over the selection of work can produce an unpredictable or inconsistent show or a delightful surprise.

After the work is selected by the juror(s), usually the juror's role is finished.

In summary
A curator is often responsible for an entire show from beginning to end, including, but not limited to, selecting the theme, artwork, writing wall text, labels for the work, catalog essay and perhaps working with staff or exhibition designers on the installation.

In comparison, jurors are only responsible for selecting work.

Understand the difference between curated and juried on your resume and in professional situations.

Harriete

This post was updated on February 11, 2022.

Handcuffs, As Jewelry? - Symbol of Oppression in Fashion

When my daughter was fourteen I started “The Fulsome Game” (see photo below), inspired by the comparison (or should I say the shocking similarity) between three different game boards from 1966, 1967, and 1995. Adding to the culture shock for this women’s lib mother/artist were the magazines marketed to young girls filled with underwear, makeup, nail polish, and articles about “how to look good” or “what do boys want in girls.”



Our culture sells this fulsome game of excessive advertising, consciously and subconsciously selling an incessant message that limits females to stereotypical roles that superficially focus on appearance instead of substance.



When will women be unshackled from the limitations of these formulaic and limited roles?

Roll the dice…

Well, I couldn't believe what I found in a recent issue of Elle Magazine discovered at the gym. What I thought was going to be entertainment turned into concern when I noticed this image below
                                  handcuffs as jewelry!

I (reluctantly) borrowed the magazine and scanned the page for your viewing. 

The above image was taken from a full-page fashion spread of HOT items currently "in fashion." Something is wrong here if "hot fashion" items are handcuffs for women as jewelry. 

Sure you can say, "don't buy it".... but I am objecting to the message.

In case you think that the one pair of handcuffs was an anomaly here is an entire page of handcuffs as a fashion accessory from the same magazine.

 

Interesting that the handcuffs are shown with very high heels on both pages of fashion images. The high heels give the appearance of longer legs, but at the extreme, they encumber womens' ability to walk. The extreme high heels themselves are like ankle shackles. Handcuffs as jewelry??!  Bondage as metaphor?!! An amazing combination of shackled hands and ankles.

I want to be as fashionable and attractive as most other women....but why is it that "fashion" thinks it is attractive to wear items of subjugation and pain (handcuffs and extremely high heels)?

MORE BACKGROUND BELOW ABOUT MY COLLECTION OF GENDER-SPECIFIC games that inspire my past artwork (some highlighting handcuffs).

Come to my studio to see the extensive collection of toys.

As mentioned at the beginning, "The Fulsome Game" was inspired by three vintage game boards that I collected in my feminist study of our material culture. 

The oldest game is titled “What Shall I be? The exciting game of Career Girls” © 1966.

It offered six possible careers to young girls playing the game: ballerina, model, actress, flight attendant, nurse, and school teacher. 

Game cards in the box make a range of comments, some positive and many negative, for example
“YOU ARE A QUICK THINKER. Good for: Airline Hostess and Nurse”
“YOU ARE OVERWEIGHT.  Bad for: Airline Hostess, Ballet Dancer, and Model."
"YOU ARE PRETTY. Good for: Model and Actress."
"YOUR MAKE-UP IS TOO SLOPPY. Bad for: Airline Hostess and Model." 
"YOU ARE A SLOW THINKER. Bad for: Airline Hostess and Nurse. Another game board."

Continuing with more revelations from my collection of gender-specific toys:

Above and left are the front and the back of a “Campus Queen” lunch box circa 1967. The lunch box came complete with a thermos, two magnetic game pieces, and a spinner.

The game board had spaces with statements like:
"YOU NEED A HAIRDO FOR THE PROM, GO BACK TO THE BEAUTY PARLOR” and “YOUR HEM IS DOWN! WAIT 1 TURN TO FIX IT!"

Roll the dice, advance thirty years!   In 1997 my eight-year-old daughter was given a Barbie game called, “’ We Girls Can Do Anything’ Game, Travel the Path that Leads to the Career of Your Dreams” © 1996.

After all of these years, the career options had improved only slightly (didn’t the feminist movement have any impact)?   Now, the career options are: ballerina, fashion designer, actress, musician, pilot, and doctor, but every character is dressed in Barbie pink including the pilot and doctor.

I could not hold myself back from this commentary in the piece "The Fulsome Game".

Harriete

This post was updated on February 11, 2022.

 

 

CONTINUITY and CONSISTENCY, Photos Should Demonstrate Clear Focus

In response to a recent series of posts about juried situations, Jenny Fillius left a very important comment worth repeating.

Well Done © 2010
Recycled tin
Artist: Jenny Fillius
10.25" x 11.75"

She said, "I've been a juror. If the piece was well crafted, appealing, and unusual, it was a slam dunk. The important part for me was seeing 3 works by the same artist with continuity.

Did the pieces relate well to each other?  Was there a particular style to the work of the artist? A few times artists sent photographs of 3 very different pieces in an attempt to showcase their abilities -- and it fell flat. They appeared to be all over the map and it was confusing. Be consistent in what you are presenting as your work, and as Harriete states, make sure your photographs are stellar."

 

   Shakespeare, Kick in the Pants© 2011
   Recycled tin
   Artist: Jenny Fillius
   15" x 10"

Great point from Jenny Fillius. It is very important for a jury submission to look like a cohesive body of work.

Jurors want to feel confident when selecting an artist.  Yet they can only see the photos submitted.  So the submitted images must show a signature style and a focus for the work. Attempts to "showcase your abilities" with widely varying work or media are more likely to "confuse" the juror rather than impress them. 

 

No Life Guard on Duty  © 2011
Recycled tin
Artist: Jenny Fillius
18.25" x 9.25"

Your images should read like a sentence conveying a clear sense of focus. Although the work or views are different in each image, there should be a clear and unmistakable thread running through them. A juried submission is not the time to demonstrate your virtuosity with a variety of techniques or media.

Experienced jurors generally feel that submitted images should reinforce a particular identity, style, and strength, not a “hodgepodge,” lacking a unifying voice. The jurors want to see maturity and consistency in a solidly organized presentation. This is true for juried exhibitions and craft show applications.

This principle extends to every opportunity from a juried application, to display at a craft show booth or exhibition for creating a positive impression. 

Harriete

 

Today is National Reuse Day.
Help Make October 20th "National Reuse Day"!  by signing the petition.
Help make every day a reuse day by recycling, reusing, renewing, or repurposing the abundance.

This post was updated on February 11, 2022.

Decision Fatigue: The Impact On Artist Productivity.

Have you ever experienced Decision Fatigue when working on your art or craft? It happens to me all the time, but it wasn't until recently that I figured out what it was and why it was happening and how this was affecting my work in the studio.

In the past year, I began to recognize that I only had a couple of productive hours to make decisions about the layers in my Flower pins, but didn't understand what was happening.  I'd just get to a point that nothing would work out. Then I'd come back the next day and layer after layer would "come together," but only for a couple of hours.

It was happening when I was working on the curve of the pencils in the sculpture Pick Up Your Pencils, Begin. I just didn't understand what was wrong with me.

It continues to happen, but now I know why and how to work more effectively in the studio.

Now I am working on a new piece of Judaica (see the whole portfolio of work in progress), and many decisions to make about the gold strips.

After about four hours, if more decisions are required, I can't make much progress. It is like slogging through mud.

 

Does this ever happen to you?

 

Well, this phenomenon has a name, "decision fatigue." The New York Times published an article "Do You Suffer From Decision Fatigue?".  It is worth reading.

Experiment after experiment proves that the brain can only continue making well-reasoned decisions for a limited amount of time. Each and every person has a finite store of mental energy for decisions whether it is exerting self-control (e.g. resisting M & M's), purchasing, test-taking, or (for artists and makers) making aesthetic decisions. 

Artists and makers usually make a lot of creative decisions when working in the studio. I am suggesting that if we recognize this limitation in our studio time, we might reschedule our day to work more effectively. We may have six, eight, or even up to 12 hours of physical work in our body, but maybe only four hours of substantive decision making.

Think smart and work smart for your most productive day.

Harriete

This post was updated on February 11, 2022.

 

Tis' the Season for Fundraising Auction Requests

It has happened already - requests for fundraising auctions. The "season of giving" is around the corner so requests are out for donations from artists.

Vintage Profile © Susan Brooks
Sterling silver brooch
Photo Credit: Chris Wahlberg

Yesterday, Susan Brooks introduced me to an article in the Huffington Post "The Career Benefits of Boycotting Charity Art Auctions" by Mat Gleason. The article is worth reading.

I have personally written about Fundraising Auctions for the Professional Guidelines with the guidance of a knowledgeable Committee from the arts community. (Their names are listed below.) We put in 100's of hours to carefully consider the impact of fundraising auctions on the arts community.

There are four documents in the

about

FUNDRAISING AUCTIONS.

Fundraising Auctions: Issues and Checklist for Artists

Fundraising Auctions: Issues and Recommendations for Collectors

Fundraising Auctions: Issues and Impact on Galleries

Fundraising Auctions: Issues and Alternatives for Art Organizations

These documents were written in 2004. My personal opinion about fundraising auctions is even stronger than these carefully written documents. Today, I will skip my rant but would love to hear your opinion.

Please take time to read these Professional Guidelines documents and the article by Mat Gleason before you give your artwork to another fundraising auction. There are other options.

Harriete

The following individuals offered their professional experience and guidance with the Professional Guidelines Fundraising documents.
Andy Cooperman, Contributing Editor; Boris Bally, artist; Suzanne Baizerman, curator; Tami Dean, production artist;  Marilyn da Silva, artist; Lloyd Herman, curator; Cherry LeBrun, owner of DeNovo Gallery; Dale and Patrick Maveety, collectors; Nancy Moyer. artist; Marc David Paisin, attorney;  Biba Schutz, production artist; Dana Singer, Executive Director of SNAG; and Lynda Watson, metalsmith.

Harriete Estel Berman

This post was updated on February 11, 2022, to provide current links.

Zapplication: Behind the scenes by Craig Nutt

When I wrote the posts on ASK Harriete about CaFE, Craig Nutt woodworker, exhibiting artist, and Director of Programs at CERF responded and offered observations about his experience with Zapplication. His comments were so thorough, I thought this Guest Post on ASK Harriete would be informative.

Note: The opinions expressed by the author, Craig Nutt, in this post are his and his alone, and do not necessarily reflect the opinions of ASKHarriete or Harriete Estel Berman. No endorsement or refutation is implied.

From Craig Nutt:
I have not used CaFE, but have been a juror for several shows that used Zapplication, and was considering Zapplication for craft fairs sponsored by an organization I directed.  My first experience was the first year the American Craft Council used Zapp for their shows, and I have been on another ACC jury since.  Both times, the jury was live -- in fact, ACC convened 2 separate juries with 9 jurors each (I believe) separating home and office from more fashion-oriented work. 

A/V technicians were present to handle the process and troubleshoot loose network cables, etc.  I believe the images were served on a local server, rather than over the internet, giving them much more bandwidth than you have over an internet connection.  This (along with multiple projectors) allowed them to project all slides for each entry together, just as they were done when slide carousels were used. 

The submitted images on Zapplication are 1920px x 1920px, and most projectors are limited to 1024px x 768px, so it was possible to zoom into the images at two additional levels of magnification.  This was incredibly helpful to the jurors and really helped some artists (e.g. weavers, basket artists) by giving a better view of the detailed structure, and hurt some (you could see bad welds!).

The score sheets are on a notebook with thumbnails of each of the images, so there is no mistaking an entry and scoring on the wrong line.  There is also the capability of going back and looking at images full screen or reviewing a score, but this is of limited value since there is very little time to do this with the number of slides that have to be scored over the days of jurying.  In the old days, ACC put the slides on a timer, which was fair but there was no going back.

On another jury for a smaller show, the jurying was a little different.  The images were served over a high-speed internet connection and there were some compromises for the reduced bandwidth.  (A wired network connection can deliver 100 or even up to  1000 Mbps while a DSL connection typically delivers under 3Mbs –that is bits not bytes).  The limitations of bandwidth translated into a very acceptable experience, but not the deluxe experience of the ACC jury.  Images were projected one at a time, and zooming had to be done more sparingly.

There are a few fringe benefits of this new technology that might not occur to some artists.  One is the ease of handling applications, by both the artist and the organization.  Gone are sorting slides into 5 carousels and all the paperwork to create jury forms and get slides in the right order and pointing the right direction.  No more two checks, one for jury fee, and one for the booth fee (returned if you do not get in).  Also, no slides to return.  The submitted images are large enough to use for publicity and don’t need to be scanned, improving the chances that more artists will be considered for press requests, postcards, ads, and other publicity.

In one of the last carousel juries I was on, a slide jammed.  As the staff was fishing it out with a butter knife, one of the jurors remarked, “actually they never perfected THIS technology.”


Pros for Zapplication:
•    Ease of handling
•    Score sheets with thumbnail images
•    Ability to go back to review scores and revise (if there is time)
•    Square format does not favor horizontal images-all images are the same dimensions (square images may be slightly favored in image area)
•    Possible for organizers to show selected images without manually resorting slides (extremely useful for tiered juries such as fellowships or exhibitions)
•    Ability to zoom in on images (depending on the bandwidth available)
•    Slides do not jam
•    Makes it easy and cost-effective to jury remotely and not convene a live jury

Cons for Zapplication:
•    Makes it easy and cost-effective to jury remotely and not convene a live jury
      o    If the jury is remote, images will probably be viewed on variously-sized computer monitors, rather than being projected
      o    If the jury is remote, the process is not facilitated and managed by staff
•    Images shot with inexpensive digital cameras are often not as good as transparencies (I noticed this when reviewing images for a book with both film and digital submissions)
•    There can sometimes be delays due to technical glitches (similar to slides)

From the point of view of a juror (and as an artist) I think these are the most important aspects of any jury system:

•    Fairness to all submissions
•    Images are projected in as close to ideal circumstances as possible (quality projector, high resolution,  good background, easy to read the images)
•    Simplicity of the review process for the juror.  Allow the juror to concentrate on the work submitted and not the jury process.  In my best jury experiences, the process has been so well-organized as to be transparent.
•    (Fringe benefit) Opportunity to meet and get to know the sponsoring organization and staff as well as other jurors.

Thank you Craig for this behind the scene insight into Zapplication and the jury process.

Harriete

Craig Nutt is a woodworker and Director of the Program at CERF. He was the juror for the Lark Book 500 Chairs, has exhibited his work widely, and is included in 12 museum permanent collections.

This post was updated on February 11, 2022.

 

Burning © 2002 Craig Nutt
Oil paint, lacquer on carved wood
46" x  57" x  31"
Upholstery- handwoven & dyed cotton silk chenille by Janet Taylor.

 

 

 

 

Photo Comparisons and Descriptions - Now Optimize Your Submission

The previous post answered a question from Lora Hart about what information jurors really take into consideration.

She also sent several photos for comparison. Today we will look more closely at the photos and the photo description. There are several issues to look at here.

Compare and contrast these photos. How does the quality of the photo affect your opinion of the work?

What do you think about the inclusion of technique within the photo description?

Communion
.999 Metal Clay, Mica, Photograph, Pearl. Kiln fired, riveted.
Left Photo by Lora Hart.
Right Photo by Marsha Thomas.

COMMENTS ABOUT THE PHOTO COMPARISON:
The photo left was taken by the artist. Unfortunately, the lighting reveals the "wavy" surface of the frame. This is distracting and the least attractive part of this pendant. From a technical standpoint, a frame like this should be cut from a silver sheet or sanded to a smoother appearance (before riveting).

The completely centered pendant and background look a little rigid and static. The pendant is sinking into the background.

In the professional photograph on the right by Marsha Thomas, the spot of light on the lower right gives a strong shadow below the pendant. This clearly delineates the pendant, giving the pendant a presence and lifts the pendant off the background.

The extra lighting also makes the photographic element glow with a richer color. Since the photo is an important part of the composition, this extra emphasis is important.

COMMENTS ON PHOTO DESCRIPTION:
While a photo description (above) as written by Lora Hart would not get the artist eliminated, it focuses too much attention on the techniques.  This is intended to be constructive criticism to stress how important words can be in representing your work.

The photo description should include ONLY materials. Including "kiln-fired", and "riveted" in the photo description is unnecessary.  I do not recommend including any fabrication or technical information in a photo description (unless it is required).  Even then, a requirement for technical information is usually a separate box on a juried application.

The term photo in the description seemed a little unclear to me. I looked at the image and wondered why the photo had a brown tint. It was only after discussion with Lora, that she realized that she forgot to include Mica in the description (I added this later).

After we cleared up this issue, it brought something to mind. If a juror is confused about an image, it brings the work closer to a rejection. In this example, I didn't understand why the photo had a brown tint. Only after two emails, did Lora and I clear this up. During a real jury situation, communication with the artist is not an option. If anything in the photographic image of your work isn't explained in the description, most likely your work is out. Don't use the term mixed media for just this reason.

NEXT PHOTO COMPARISON:

 
Eidyl Pleasure.
Copper, .999 Fine Silver, Pearls. Hydraulically Pressed, Kiln Fired, Sewn.
Left Photo by Marsha Thomas.
Right Photo by Lora Hart.
 

COMMENTS ABOUT THE PHOTO COMPARISON:

The photo taken by the artist on the left seems a bit out of focus. In a competitive jury situation, an out-of-focus photo is usually an automatic "decline".

So sorry to be so blunt, but if the photo isn't in focus, it sends a message that the artist/maker is:

• not professional;
• they are not focusing on their art  or craft;
• the maker does not have professional quality photos because they don't care; and if the artist doesn't care, then the juror doesn't care;
  
• = Decline.

Another problem with the photo on the left is that the color is lifeless. The completely centered pendant within the photographic frame looks somewhat flat and dull (especially in comparison to the photo on the right).

In the professional photo (on the right) by Marsha Thomas, the spot of light on the pendant and the background gradient helps to highlight the pendant. The focus is clear and sharp. The color of the copper looks luminous and rich. The metal shines. I like how the point of the pendant points diagonally into the corner which creates a more dynamic image. The pearls extend this movement into the corner of the frame filling the entire rectangle format of the image.

COMMENTS ON PHOTO DESCRIPTION:
The photo description should include only the materials, no technical process.  Do not list technical process unless it is required information. I am not as familiar with other media, but jewelry/metals people seem overly focused on technical processes and it becomes a boring crutch. Skip it. Nada, never include any processes in your photo description. The only thing people or jurors want to judge is the final work, not how you made it.

Take out terms such as "Hydraulically Pressed, Kiln Fired, Sewn" from the photo description. This goes in a box for process or technique, not in the photo description. Avoid discussion of technique unless it relates directly to the theme.

NEXT PHOTO comment:

Conquistador
sterling silver, .999 Metal Clay, pearls,
silk. Fabricated, kiln-fired, sewn.
Artist: Lora Hart
Photo Credit: Marsha Thomas

Lora Hart's ring (to the left) only has one professional-quality image, so there is no comparison photo.   But  I do have a comment. The top of the ring and the background are too close to the same value.  I wish that there was more contrast between the ring and background, either the ring had a little more light on it, or the background was a lighter color.

COMMENTS ON PHOTO DESCRIPTION:

I would add the term "ring" to the title as in Conquistador Ring. Adding a clarifying word makes it very clear when the juror is looking at the work.

Of course, in this case, it is very obvious that this is a ring, but sometimes rings don't look this obvious. The same goes with a bracelet, pendant, necklace, teapot, book, cabinet, etc.

Hope this information is helpful. Do you have any photos like this to compare for ASK Harriete readers? Photos you took yourself and then had the same work re-shot by a photographer.

Thank you Lora Hart for sharing.  This has been a great comparison to review.

Harriete

This post was updated on February 11, 2022.

Juried Submissions: What information do jurors really take into consideration?

  Sainted Memory
  Sterling silver, fine silver, brass, found
  object. Roller printed fabrication.
  Artist: Lora Hart
  Photo Credit: Marsha Thomas

Dear Harriete,

The post on your CaFE jury experience was particularly enlightening. I'm wondering if you could write a post regarding what types of information jurors take into consideration other than good imagery/photographs and the actual piece itself?

If everything else was there, would the lack of backup information lessen the chances of acceptance? If the required guidelines were somewhat less than stellar, would a great resume, bio, or artist statement raise the possibility of inclusion?
Thanks.

Lora Hart

In most juried situations the artwork is definitely the primary consideration. More specifically, the jurors are not looking at the artwork in person so the photographic images are THE primary method for evaluation. This is why the quality of the photographic images is so important.

Lora Hart sent two pairs of photos for the same work. How does the quality of the photo influence your decision about the work?

Communion
.999 Metal Clay, Mica, Photograph, Pearl. Kiln fired, riveted.
Left Photo by Lora Hart
Right Photo by Marsha Thomas

IF the juror can’t “read” the photographic images well enough, or the photo isn't good enough for any reason, the juror may look to the supporting information including the description, dimensions, or statement for further insight. Therefore, the quality of the information and the writing can be important, but usually secondary.

 

Eidyl Pleasure. Copper, .999 Fine Silver, Pearls. Hydraulically Pressed, Kiln Fired, Sewn.
Left Photo by Marsha Thomas.
Right Photo by Lora Hart.

Also, be sure to follow the instructions for the information requested. If required information is missing (for example, dimensions are required, and there were no dimensions, or a statement is required and there is no statement), this would definitely be sufficient grounds for "decline."

If a juror is on the edge about a decision, an artist's statement may influence the juror's decision toward "yes" or "no."  So, your statement should avoid fluff, artspeak, and meaningless emotional verbiage. Express concrete ideas and clear descriptions that may not be apparent in the photographic images. (Read a previous post on ASK Harriete about Artist Statements.)

For a themed based situation:
On the other hand, for a themed juried situation, the statement may be much more important as the art or craft will be evaluated on how well it specifically addresses the theme.  An artist statement that addresses a theme or expresses ideas in the work may have more impact.

Conquistador
sterling silver, .999 Metal Clay, pearls,
silk. Fabricated, kiln-fired, sewn.
Artist: Lora Hart
Photo Credit: Marsha Thomas

The statement that accompanies your work should specifically address the theme of the exhibition. Too many artists use a general statement about a body of work that does not directly relate to the specific images submitted. In addition, avoid discussion of technique unless it relates directly to the theme.

I would say that a bio or resume is rarely a factor in a juried decision. Typically, the resume is not part of a juried application. If for some very unusual reason a juror decided to look at a resume, what they would want to see is past influences and how a person has applied themselves with dedication and effort. (Read a previous post on ASK Harriete about resumes.)  Do not inflate your resume, do not double list shows, do not include workshops as education -- just the facts without exaggeration is all that is needed.

In conclusion, there are a couple of issues that are total turn-offs. One is excuses (such as, "you don't have much time," who does?)  Another turn-off is a one-word or one-sentence statement or a statement such as "My work speaks for itself."  If the juror is looking at your statement, the work obviously did not speak loud and clear, and you just shot yourself in the foot.   

Next post: a discussion of these photos and the photo description information.

Compare and contrast these photos. How does the quality of the photo affect your opinion of the work?

What do you think about the inclusion of technique in the description with the photo?

Harriete

This post was updated on February 11, 2022.

Networking, Forging Communities, Connections, Opportunities

 

  Here I am as the "Applause  Lady" at a
  SNAG Conference. I don't normally
 dress like this, but it was fun.

Though I love the virtual world, there will never be a substitute for going to a symposium, meeting people in person, or listening to a lecture live. A serendipitous moment can change your professional future. It has happened to me time and time again. Make it happen for yourself.

With this in mind, here is information about a symposium in the S.F. Bay Area that took place on November 12, 2011, followed by links and brief information about the speakers. This symposium was titled "Forging Communities - An Intimate One-Day Symposium" and was sponsored by the Metal Arts Guild of San Francisco. I was one of the speakers.

MORE INFORMATION IS BELOW:

Forging Communities  An Intimate One-Day Symposium 
November 12, 2011 
Sponsored by the Metal Arts Guild of San Francisco

Metal Rising: The Forming of the Metal Arts Guild, San Francisco, California, 1929-1964 presented by Jennifer Shaifer followed by a conversation with Imogene Tex Gieling, merry renk, Florence Resnikov (founding members of MAG).

What does Success Look Like in the Jewelry World? with Sarah Turner, Brigitte Martin, Lola Brooks, Sienna Patti.

Professional Practices: Conversation, Questions, & Commentary with me, Harriete Estel Berman.  Tara Brannigan covered the symposium live via Twitter.

The Maker Faire Phenomenon – Engaging Community and the Next Generation of Makers with Dale Dougherty (Founder of Make: Magazine and Maker Faire).

The Extreme Craft Roadshow presented by Garth Johnson

This post was updated on February 11, 2022.