Show Notes
When I’m selecting for an open call or art prize, I might be looking at hundreds, sometimes thousands, of artworks. So, what actually makes me stop at one and think, hang on, I want to see this in real life?
I wanted to share what’s actually going through my mind when I’m choosing from all those images to help you look at your own applications differently. Instead of wondering what everyone else wants to see, I want to help you figure out how to stop second-guessing yourself, drop the anxiety of playing it safe, and give your bravest, most distinctive work the best possible chance of catching a selector's eye.
KEY TAKEAWAYS
If you've made something that gives you that little whoosh of excitement, something you are slightly nervous about showing, perhaps that's the work you should be considering.
You don't have to play it safe by submitting something that's simply nice; selectors would much rather encounter an artwork that makes them think, blimey, what's going on here?
You don't have to second-guess everything a selector might like. But looking at who is selecting and what the institution is trying to achieve gives you a much more informed way to choose what to submit.
Invest in the quality of your documentation, because your photographs need to give the work the best possible opportunity to communicate its particular qualities, especially when you're not there to advocate for it.
BEST MOMENTS
“What matters is what meaning I can glean and whether the artist has created an encounter that stays with me.”
“Sometimes I'll select a work that's technically less accomplished than another because there's something odd happening within it.”
“Generally, I'm looking for something that makes me curious, something that catches me off guard or makes me want to spend more time with it.”
PODCAST HOST BIO
With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals.
****
Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today!
https://cerihand.com/membership/
****
Unlock Your Artworld Network Self Study Course
Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today.
https://cerihand.com/courses/unlock_your_artworld_network/
****
Book a Discovery Call Today
To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at [email protected]
****
Discover Your Extraordinary Creativity
Visit www.cerihand.com to learn how we can help you become an extraordinary creative.
This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/
More from Extraordinary Creatives
What would it be like to meet every version of the artist you’ve been over the last twenty years?
What kind of art makes you glad to be alive?
What can art do about climate change that science, facts, and frightening headlines can’t?
At a recent exhibition opening, I was talking with an artist whose work I admire. We were looking at work that was beautifully made and meticulously researched, yet somehow, I wasn’t moved.
How does a sixteen-year-old looking for beer money become one of the world’s leading dealers in rare maps, selling extraordinary objects for millions and occasionally outbidding the Library of Congress?