4 page

ExhibitionDesignHandbookSection3.pdf

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The Gallery Director works with students to plan exhibitions and events, often a year or two in advance. Planning includes advance fundraising, art history research, investigation of loans, shipping requirements, etc. In addition, the Gallery Director works to interrelate University departments and programs, in an attempt to bring art to the campus and neighboring community. These advance plans are also part of the opportunity to explore aspects of fundraising, research, etc., for future projects. The Gallery Director also oversees the current exhibition installations, working closely with the Gallery Manager, Project Manager and Operations Manager. Together this team works with the Art Department faculty to present exhibitions within the Art Department Gallery. The Gallery Manager works with the Gallery Director on the development of future exhibitions, the implementation of current exhibitions, and oversees all business related to the gallery. The Gallery Manager will work with students to maintain records and reimbursements, oversee gallery sitters, and install artwork. The Gallery Manager handles arrangements for loans and insurance, and working with students will supervise the delivery and inspection of artwork and the completion of condition reports. In the Gallery Director’s absence the Gallery Manager will oversee all gallery affairs. Overall, the Gallery Manager handles the day-to-day management of the gallery.

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In conjunction with the Gallery Director and Gallery Manager, the Project Manager assigns students tasks and oversees the current exhibition installation. The Project Manager may or may not have been involved with preliminary development of the exhibition prior to its commencement in the current semester. If the Project Manager has not been previously involved, he or she then faces the challenge of learning along with the class, while at the same time needing to disseminate information to the class. Although the Project Manager may also participate in curatorial, editorial, or design decisions, the primary role is to facilitate smooth implementation of the exhibit, with special emphasis on coordination of personnel. The Project Manager, with the Gallery Director, formulates a calendar for the exhibition and related events which is distributed to class members. While dates may change as situations require, the calendar offers a structure for the weeks to come. The Project Manager also serves as a liaison between the Gallery Director and class members. One of the most effective means is the proverbial "fly on the wall" method in which copious notes of all discussions, etc. are taken. When class members have questions or problems the Project Manager may be able to supply answers more quickly and efficiently than the Gallery Director or Manager. In addition, the Project Manager meets with the Gallery Director weekly to assess completion of projects and follows up on those that are unfinished. Responsibilities also include obtaining a phone list of class members and their duties from the Operations Manager, aiding in organizational time frames and reminder calls.

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In conjunction with the Gallery Director and the Gallery Manager, the Operations Manager oversees the exhibition, ensuring a smooth planning and installation process. This includes ensuring successful communication between students, the Project Manager, the Gallery Director and Gallery Manager. The Operations Manager may or may not have been previously involved with the preliminary development of the exhibition prior to its commencement in the current semester. If this is the case, he or she then faces the challenge of learning, along with the class, while at the same time distributing information to the class. The Operations Manager’s job begins on the first day of class. It is his or her job to gather contact information from each student: Email address and phone number, collect the info into one document to forward to the Project Manager, who will disperse to the class and aid in making reminder/ follow up calls. It is also helpful for the Operations Manager to take notes during all class meetings, either for their reference or for future reference of the Gallery Director and Manager. In the beginning stages of each exhibition the Operations Manager will work with students in class as well as the Project Manager to assign roles to each student based on what area they requested to work in. Also, it is the duty of the Operations Manager to compose an overall exhibition timeline for the class to follow. This is helpful for Project Manager to work with the Operations Manager to set goals to achieve by specific dates, etc. The Operations Manager will be the person to keep lists of supplies, re-order and pick up supplies and ensure that workspaces and the gallery are clean and tidy in the end of a workday. The Operations Manager and Project Manager will meet with the Gallery Director weekly to assess completion of projects and follow up on those that are unfinished.

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&%")7+&#&! Registrars in large museums are responsible for creating, organizing and maintaining orderly systems of forms, legal documentation, files and retrieval systems associated with the following: acquisitions, accessioning, cataloging, loans, packing, shipping, inventory, insurance and storage, directed to the care, custody and control of the objects in possession. Registrars also organize, document and coordinate all aspects of borrowing and lending objects, which includes responsibility for the handling and/or packing of objects, negotiating insurance coverage, processing insurance claims, making shipping arrangements, arranging for security, handling customs procedures, processing incoming and outgoing loans, and processing requests for rights and reproductions.

!"#$%&'()*+&#,-#'./#."' • Accepted gallery or museum registration techniques • Fine arts handling techniques • Conservation and storage practices • Records management and data processing systems • Packing techniques and transportation methods • General care, and organization

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The Registrar’s duties vary according to the type of exhibition scheduled and the amount of work previously done by the Gallery Director and Gallery Manager. Consequently, the Registrar should meet with both the Gallery Director and Manager to discuss any issues of concern. Generally, a certain amount of work for professional exhibitions will have already been completed some weeks or months in advance. This usually includes finalizing loan agreements and securing insurance. The focus is then on issues relating to delivery of the artwork, the examination of the work and the completion of condition reports. The Registrar also maintains a list of the artworks for the exhibition available for class distribution. Overall, the Registrar is responsible for receiving art (if applicable), unpacking art, completing exhibition checklists, carefully inspecting pieces for any damage and completing a condition report for each work handled, and also outgoing condition reports and repacking the work upon de-installation and return to the loaning artist or gallery.

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<.),&1)-'6/2+*/(' Appropriate handling of artwork is extremely important during the registration and installation process. Carefully read and understand the detailed description of PROPER ART HANDELING TECHNIQUES in the INTRODUCTION section of this Handbook (Page 6) KEY POINTS TO REMEMBER:

• Wear white cotton gloves whenever handling artwork, wrapped or unwrapped.

• Do not touch face, hair, or other surfaces while wearing protective gloves and handling artwork. Oils and dirt are easily transferred from the gloves to the work and cause damage.

• Always make sure that enough people are available when moving every piece of artwork.

• Clear communication is most important when handling artwork.

6/2'7#&1=#/;' During professional shows the Registrar works with the Gallery Manager to schedule the delivery of artwork either by the artists themselves or by a fine arts shipper (i.e., ShipArt). Ideally, the Registrar is available to help in the gallery on these days.

!)+/.881)-'4*/(' In consultation with the Gallery Manager, the Registrar carefully unpacks each work and documents on the condition report forms exactly how the works were packed (notes on packing may be written on the backside of the form, saving space for the object itself on the front). It is not necessary to wear gloves when handling packing materials, but it is VERY important to wear gloves when handling any artwork. Carefully move objects to protected areas in the gallery and rest them on carpet strips or padding until condition reports may be done. When the exhibition closes the Registrar is responsible for repackaging the works as well, if not better, than the condition they arrived; thus, remembering how the works were originally packed is a must.

>*),121*)'0#8*/2"' The Registrar continues the examination on the artwork itself and records any marks, damage, cracks, holes, drips, scratches, etc. on the artwork, frame, glass/plexi, or backing on the front of the Condition Report form (an in-depth Glossary of Terms may be found on page 113 of this workbook); one form per

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artwork. Each artwork is carefully and meticulously examined, with all irregularities recorded thoroughly. As a result of this intensive examination, the Registrar learns more about the physical aspects of each work, including the materials, titles, dates of work, the artists, identifying individual works, and how the works will be installed, than any other student in the class and becomes an invaluable source of information. Condition Reports are kept in an organized manner in the Gallery Office and may not be removed from the premises. These reports serve as evidence as to the condition of artwork received, and proof that damage did or did not occur to the work while on exhibition in the gallery. The Gallery Director or Manager must be notified immediately upon discovery of damage during the initial examination. If the damage was incurred during shipping, the lender must be contacted. Ask the Gallery Manager for assistance on where the files are stored. The Registrar is also responsible for observing how the artwork is handled during installation. If there is potential for damage to the work during installation or if the installation design is faulty (unsecured wire, unstable base, etc.), the Registrar should consult with the Gallery Director or Manger before the work may be handled again. While the gallery does complete “outgoing” condition reports when the work leaves the gallery after an exhibition closes, all members of the class are called upon to examine the works during the run of the show. As a last note, the Registrar is also involved in repackaging the work after the exhibition ends.

?)"%/.)@#! All professionally loaned works require insurance before they actually arrive in the gallery. Consult with the Gallery Manager regarding status on expected artwork. In the case of extremely valuable works of art, campus police should be made aware of the security issue, via the Art Department Chairperson. Additional insurance may be necessary in such cases. Generally, student work is not insured because of the difficulty of assigning value.

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7+)$$9%$$!*,$$%*+),/!.#/#"%&! The Stillwell Art Collection is housed in the Art Department Gallery Office and allows the Registrar and others to handle, examine, and catalog a small, permanent collection. Several works from the collection are displayed during the Stillwell Student Exhibition in the latter half of the Fall Semester. !

>.2.&*-1)-'A'6@@#""1*)'B%9C#/"' Please see detailed instructions on the Stillwell Collection Accession and Catalog System as discussed in the EXHIBITIONS portion of this handbook (Page 34).

DO NOT ATTEMPT TO RENUMBER!! Most commonly used numbering system in US museums today: YEAR. ACCESSION NUMBER (for that year). ITEM NUMBER 2-digit year: 98.1, 98.2: etc. 3-digit year: 998.1 4-digit year: 1998.1 Example 1: A gift for 1998, 45 objects acquired as a group from one source/donor and which can be exhibited separately: 1998.3.1 to 1999.3.45 Note: the first 2 numbers are assigned immediately and there can be a delay in assigning the 3rd number until the exact number of objects is determined Example 2: A gift of one object that has 2 parts (e.g. teapot and lid), which cannot be exhibited separately: 1998.5a and 1998.5b. Example 3: Another teapot and lid as the third item in a group of items acquired as a gift and was the 8th accession in the year 1998: 1998.8.3a and 1998.3b Example 4: A series of 20 prints, as part (22nd) of a large bequest of items, which was the 10th accession for 1998: 1998.10.22.1 through 1998.10.22.20 Example 5: A set of china with place settings for 8 people, as a single gift, and the 11th accession for 1998: accession number for the entire set: 1998.11

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group number for 8 dinner plates: 1998.11.1 numbers for individual dinner plates: 1998.11.1 to 1998.11.1.8 group number for 8 dessert plates: 1998.11.2 number for individual dessert plates: 1998.11.2.1 to 1998.11.2.8

[continue to number sequentially 8 saucers, 8 cups, etc.] number for sugar pot and lid: 1998.11.3a to 1998.11.3b

D*.)'B%9C#/"' Number reversal system: 1.1998.1 through 1.998.5 = first loan of 1998 with 5 objects on loan -- some possibility for confusion using 2-digit year system or with many objects on loan: 78.98.1 = 98th accession for 1978 or 78th loan for 1998? It is best to use all 4 –digit year system, 1998, or prefix system for loan numbers: l.1998.15 (15th loan for 1998)

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The Publicity Coordinator serves as a gallery representative for SFSU Office of Public Relations (PR). The Publicity Coordinator is responsible for contacting campus media/ media not covered by the PR office. The students enrolled in Art 619/719 have the invaluable opportunity to present exhibitions, through the powerful medium of art, in a museum quality gallery to both the students of San Francisco State University and the populace of San Francisco. The immense responsibility held in presenting work that is aesthetical, educational, and political would be wasted if the message and ideas did not reach the public. For this reason it is extremely important to publicize. The Publicity Coordinator focuses not on the immediate requirements of handling and installing artwork, but rather on making sure the public at large is made aware of the event. The Publicity Coordinator also learns about subtleties of the political and sometimes bureaucratic system of the PR industry and works with the University’s publicist and professionals in newspapers, magazines, radio and television. '

E%C&1@12;'.),'6%,1#)@#'7#=#&*89#)2' Publicizing the exhibition both on and off campus attracts larger audiences. On campus, audiences include faculty, staff, and enrolled students; off campus audiences are comprised of art associations, schools, and the general public. Audience development is key to generating interest in the show. Attracting a large audience involves understanding the works in the exhibition and figuring out who would find the work interesting. Research on special interest groups, guilds and associations is very important. For example, target audiences can be in reference to a particular medium, such as The Textile Arts Council (TAC) for The Fabric of Life textiles show. Communication with these groups can take the form of press releases, direct mail, phone calls, invitations, and e-mail. The Internet can also serve as a means of research into these groups.

Audience: On Campus Develop a flyer, poster or direct mail piece. Each piece should include the name of the exhibition, opening reception and dates of the show’s run, gallery hours, gallery location and a sentence or two describing the exhibit. Distribute promotional materials to all appropriate faculty and graduate students via mailboxes in the Art Department, other Creative Arts Departments, the Dean’s

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office and all other academic departments (i.e., Humanities or Ethnic Studies). Also target student-run organizations, located on the Mezzanine in the Chavez Student Center. Promotional materials may also be placed in the gallery cases located outside the rotunda, in the window of the gallery atrium, and in the display case located in the Creative Arts Building. The key to the display case in the C.A. Building can be obtained from the Dean’s Office, Room 251, with the presentation of a student ID. Please note, materials posted on the glass windows of exterior doors of buildings may be removed by custodians for security and safety reasons Other locations for posters and flyers on campus: Creative Arts, Fine Arts Building Humanities Building and Burke Hall J. Paul Leonard Library, Administration, and Business Hensill and Thornton Halls, and the Science Building

Cesar Chavez Student Center and Electronic Billboard at the Student Center Cesar Chavez Student Center Art Gallery

(contact the Information Desk in the Student Center and ask for the information sheet to display information)

Banner in the Student Center Mezzanine Banner between A&I and Creative Arts Building Posters in Dorms and the Residence Dining Hall area SFSU Parking Lots 19, 20, 25- distribute flyers under windshield wipers

Off-campus locations: MUNI/BART platform posters- ask for key to SFSU MUNI Platform

Bulletin boards. Also place on community bulletin boards--some places are:

• Independent cafes • Bookstores and public libraries • Rainbow Grocery • The Women’s Building • Small retail boutiques (i.e.: in the Mission, Noe Valley, Union

Street) and Stonestown Mall

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Other Universities: Other universities’ faculty and students in the Bay Area are an excellent source of audience for our shows. Include the following on your list of organizations to contact: City College of San Francisco College of Marin Academy of Art College The SF Art Institute California College of Arts and Crafts Mills College Bay Area State Universities: San Jose, Hayward, Sonoma UC Berkeley, Santa Cruz, Davis Alameda, Laney, Merritt and Vista Community Colleges If possible, send promotional materials to SFSU Art Alumni. Contact the Alumni office at least 3 weeks in advance in order to have labels produced and to obtain a count.

>*)2.@21)-'25#'F#,1.' Communication with the press takes the form of the press release, and lists all pertinent information about the show, including date, location, times, and the content of the show. You also need to obtain at least one high-quality image that can be reproduced in 35mm slide format for press distribution. Coordinate with Matt Itelson ([email protected]), the Publicist for the College of Creative Arts, for the creation and distribution of the press releases, slides and follow-up. Contact him eight weeks before the exhibit opens. Deadlines for print publications run between three to six weeks- the Publicity coordinator is responsible for knowing when the deadlines are and sending the press release on time. On campus publicity is primarily the Golden Gate Express. Some academic departments, especially at graduate level, may have their own newsletters. Off-campus outlets include SF Weekly, Bay Guardian, East bay Express, SF Chronicle, SF Examiner, SF Independent, local neighborhood newspapers and ethnic press.

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Community groups including Elementary, Junior High and High Schools should be contacted. If possible, meet with the Community/Education Outreach Coordinator to arrange tours and visits to the show.

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The Publicity coordinator first contacts and then works closely with the SFSU College of Creative Art’s Publicist Matt Itelson (338-1442). He will walk you through the process of creating a press release and media relations. Past experience has shown that initial contact to any media (TV, radio, newspapers, magazines, etc.) is a call or email to the contact person (i.e. the Arts and Entertainment editor). Introduce yourself, for whom you work and the exhibition you are publicizing. On a personal note, remember that most professionals are very busy and may indicate little or no interest. Do not allow this to discourage you. Fax or email a press release to this person; see example. Always include a cover letter reiterating the points of which you spoke on the phone. -Your name/title-Publicity Coordinator -SFSU Fine Arts Gallery -General Exhibition Information -Exhibition dates, Reception date and time, Gallery hours -Availability of tours-pre-opening for critics -Reader Interest -"Angle" of story -i.e. importance to Bay Area community The following week, follow up with a phone call confirming receipt of the fax and offer to answer any questions the editor may have. Publicity should not be limited to only the large newspapers and periodicals. There are hundreds of special interest/ethnic mediums in the Bay area. The Public Relations Office on the SFSU campus has a large number of resource books available for reference. LISTINGS: Most newspapers (print and online), such as the Bay Guardian, SF Weekly, SF Examiner and Chronicle, and the Oakland Tribune, have calendar listings announcing upcoming and daily Bay Area events. It is extremely important to have the exhibition included on all of these lists. Fax each paper a release addressed to the name of the Calendar Editor or to "Listings". For an up-to-date contacts list, please call Matt Itelson, Creative Arts Publicist, at 338- 1442.

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CRITICS: In addition to having the exhibitions listed in newspaper’s calendar section, we also want to attract critics to review the exhibitions in depth. They should have press releases, artists’ bios, a cover letter, and images sent to them. Check with Matt Itelson for an up-to-date contact list for local critics.

G8#@1.&'L)'>.98%"'>*)2.@2"! Letters should be written (and approved by the Gallery Director prior to sending), with lists of all upcoming dates relating to the gallery- exhibitions dates, receptions, film series, lectures, and other events, to the following persons:

• Editor-in-Chief and Art Editor of the SFSU Campus newspaper, The Golden Gate Express

• Leslie E. Wong, President of the SFSU Campus • Gail Dawson, Interim Chair, Associate Professor SFSU Art Dept.

Graduate students in Art 619/719 who are enrolled in the Museum Studies Program are advised to personally notify Professor Edward Luby, Director of the Museum Studies Program, either verbally or with the exhibition invitation delivered by hand.

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#>?@ABCD!EFG!(H?IJCFKEKAHF!HL!%M@ANAKAHFD! Archives provide a means of record keeping and documentation of exhibitions. Professional exhibitions require documentation for a number of reasons: publicity, influencing presentation of new shows, evidence as proof of high quality and educational production for grants and fundraising, and as increasingly necessary evidence for pursuing future employment. Documentation may include high quality photos and transparencies, announcements, catalogs and posters, and other printed materials, videotaping receptions, and print-outs of website catalogs. Consult with the Gallery Director when deciding which artworks specifically need documenting, and/or which works are prohibited (by the collector or owner of the work) from reproduction. The Fine Arts Gallery often works with curators in charge of large, private collections and major museums that control the copyright of certain works. Likewise, students whose works are exhibited in the gallery will be glad to have their work documented with few problems as long as they receive a copy of the documentation. Beginning in 2010 the Fine Arts Gallery has established a digital archive for the imagery for each exhibition. Detailed instructions on the upkeep of this system follow.

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D.C#&1)-'?9.-#"' 1. Name of Show, dates, and what the image is for.

For example: Out of Order, Fall 2010, Installation, Image number, save as JPEG. OOOF2010_Inst_001.JPG

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1. Open Filemaker Pro. 2. Use photo catalog format.

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1. Title of work, date photo was taken, full name of artist, and details (on loan from who, materials, or other important information, etc.), and the image itself. For example:

Name: Three-Legged Inversion (aluminum) Date: 9/18/2010 Artist: Gay Outlaw Notes: 2009 (year created) Plywood aluminum, inkjet on aluminum

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2. To create a new folder for more or new images select “New Record” on

the top tool bar. Fill in the information, to add a picture click “Insert Picture” (bottom left, beneath information). Follow steps until done. Make sure to save your files! Save them under the title of the show, or under the database grouping. Please remember: If there are multiple shots of the same artwork, give detailed description of what was shot (detail shot, wall shot, etc.).

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4*/(1)-'+125'25#'G%8#/>**&G@.)'MNNNO7P'G&1,#'G@.))#/'1)'25#' Q1"%.&'0#"*%/@#'D1C/./;R' If you are on the documentary team you may be asked to help with the digitization of the slide record of pervious shows. This is a great way to collect homework hours! To do this you will need to scan slides from the archive binders of previous shows onto the archive hard drive. Both the slide binders and the hard drive are located in the gallery office. You can scan the slides with the slide scanner in the visual resource library, which is open during regular art office hours. !

S#$*/#';*%'C#-1)T' The computer in the visual resource library cannot save the images to the archive hard drive. You must download the Nikon Scan 4 software and scan the slides on your personal laptop, then copy the files over to the archive hard drive. This software contains both the program needed to scan the slides and the drivers required to set up the scanner. After downloading the installation file, follow the directions for installing the software. Download the software through Nikon’s website here: http://support.nikonusa.com/app/answers/detail/a_id/16452/~/nikon-scan- 4.0-full-version

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1) Connect the scanner to your computer with the USB cable attached to the scanner.

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2) Turn on scanner by pressing the button at the bottom right hand corner of the machine.

3) Load slides into scanner as indicated inside the scanner. I recommend doing one page of slides at a time, no more than 20 slides at once.

4) Open Nikon Scan 4

5) Click on “scanner” tab at the top of the program, then click on “slide feeder”.

6) Enter the number of slides you’ll be scanning, click “scan”.

7) You may need to create a new folder to save the scans within. Name the parent folder “SHOWNAME_SEMESTERyear” and then create a subfolder with the category of images you’ll be scanning (installation, reception, individual works, etc.).

8) Change the file type of the scanned image to .JPG at medium quality.

9) Click “scan”. The files will automatically scan and be saved to the folder you indicated earlier.

10) When you’re done with your scanning session remember to transfer the scanned files to the archive hard drive.

11) If you didn’t finish up an entire binder of slides, leave a post-it to

indicate where you left off.

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! Any documentary images taken for class (including registration, installation, images of classmates working, individual images of artwork, and reception photos) should be uploaded to the SFSU Fine Art Gallery Flickr page. This enables the images to be shared and accessible to anyone who needs to use them for class. !

U*/';*%/'/#$#/#)@#' Flickr link: www.flickr.com/photos/sfsugallery login: sfsufineart password: gallery

!8&*.,1)-'E1@2%/#"'2*'U&1@(/' 1) Login to flickr 2) Click the "upload" tab at the top of the page 3) Click "Choose photos and videos to upload" 4) Select which images you would like to upload (hint: to select more than one

image, hold down the command(mac)/control(pc) key) 5) Click "open" 6) Add any descriptions/tags you like, then click the blue "Upload Photos"

button in the upper right hand corner, then confirm that you could like to upload the images (note: the more info in the descriptions the better! If you know who is in the image, who created the work, etc, please include it!)

7) The new images will now appear in your photostream. To add them to a set, click the "Organize and Create" button, then click on the "sets and collections" tab

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1) Login to flickr 2) Click the arrow next to the "Organize and Create" tab at the top of the

page, then click on "Your Sets and Collections" 3) Click on "create new set", which is located in the upper left-hand corner

of the page 4) Two yellow boxes will appear on the left side of the page. In the title

section describe the set as SEMESTER YEAR: SHOW TITLE (ex: Fall 2012: Faculty Show)

5) Drag what photos you want in the set from the list of thumbnail images at the bottom of the page

6) Click the blue "save" button on the left hand side of the page

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1) In flickr click on the image you'd like to download 2) Click on the actions tab near upper left hand corner of the image 3) Click on "view all sizes" 4) A variety of file sizes will be listed. The highest quality one will be the

one listed as "original". Click that link. 5) Right click on the image, then select "Save Image As" to save the image

to your computer !

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1) Login to flickr 2) Go to http://www.flickandshare.com/ 3) Click "Start Now" button, authorize Flick and Share to access flickr

account (if necessary) 4) Select set you wish to download, click the "share" button 5) On the next page click the "get your sharing link" button 6) Open the link provided, click "download the set" 7) Authorize the java application (if necessary) and download files to your

computer 8) Check for proper naming, then copy images over to the archive 9) Once the images are safely in the archive you may delete the old sets

from Flickr !

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"#$%&'()*)2#(-)'*&-#+-3*..'+,-1)*44/' 1) Login to flickr 2) Click the "Organize and Create" tab at the top of the page 3) Select the images you want to delete from the list of thumbnails at the

bottom of the page 4) Once you have selected all the images you wish to delete, click the "edit

photos" tab near the top of the page, then click "delete" 5) Confirm that you wish to delete the images

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E5*2*-/.85;' Make sure that the image is a good size in Photoshop in case we end up wanting to use if for the catalog. Image/Image Size needs to print at 200-300 PPI.

E5*2*-/.851)-'1)'25#'-.&&#/;R' EDITOR’S NOTE: THIS INFO. IS FROM 2011 AND WE KNOW THAT SOME OF THE FOLLOWING INFORMATION IS NON- DIGITAL AND POSSIBLY OUTDATED. BUT WITH THE HOPES THAT SOME OF IT MAY BE USEFUL WE ARE LEAVING IT IN THE HANDBOOK FOR NOW. Lighting in the gallery can be deceptive. Often, shutter speeds are at best 1/30th of a second or slower, and are too slow for handheld photography, often resulting in unusable images. Use a tripod whenever possible. Also, use a bubble level to ensure that the camera is level. The camera should be level from side to side (so your images are not crooked) and from stoning’; i.e. the sides of a rectangular piece not being parallel). It is strongly recommended that when photographing individual paintings, photos, drawings, or other rectangular or square pieces, you should use a tape measure to find the exact center of the piece and then make sure that the center of your lens is at the same height. Also, it may be helpful to use a carpenter’s square (L) on the floor against the wall directly beneath the center of the piece to help place the camera directly in front of the work. If you are photographing 3 dimensional works, it is up to you to depict the work as well as possible; show its most interesting feature(s), show as much of the piece as possible, perhaps shoot 2 or more views. If you are photographing a piece behind glass or Plexi, using a polarizing filter might be a good idea. Manually adjust the filter to minimize reflections. Focus carefully, and use a light meter; make sure you set the film speed correctly. Either a hand held meter or a built in meter will work, though hand held meters tend to be more accurate. If the hand held meter has an ‘incident’ metering feature, make sure that the incident dome is receiving the same light as the piece you are photographing (i.e. angle, intensity, etc.) and take your meter reading. If you are metering reflected light, get an 18% neutral gray card and meter just

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the card receiving the same light as the artwork. If you are using a filter, you must factor in the density of the filter (an 80A or polarizing filter will require approximately 1.5 to 2 additional f-stops). Meter the same thing with and without the filter and note the difference, or use the filter factor given by the manufacturer. If you are using the camera’s built in meter, you can just meter through the filter and won’t have to worry about this! Use a cable release if you have one to avoid camera movement, alternatively you can use the camera’s self-timer. If neither is available, a soft touch and a steady hand should work well enough. Finally, bracket your exposures by +/ 1/2 stop. That is, shoot 3 frames at 3 different exposures). Often, the best exposure will not be the one in the middle! Shooting a few extra frames and doing it right the first time will save time and expense later.

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'E5*2*-/.851)-'25#'?)"2.&&.21*)'E/*@#""'.),'L8#)1)-'0#@#821*)' Shots of the gallery when a show is being installed and during the opening reception are valuable additions to the archives and great additions to individual portfolios. Generally, regular daylight slide film and electronic flash will work well in such situations; just use the camera on automatic and most of your shots will be acceptably exposed. Be sure to get shots of important speakers and/or visitors during the reception, and artists with their work if possible! Installation shots serve as models for future exhibits and are especially useful as reference for locating the movable walls. Photographs of the opening reception and other events also serve as evidence of a successful production for future grant writing and fundraising.

E/1)2#,'F.2#/1.&"'.),'4#C"12#! Copies of announcements, catalogs and posters are kept with an arrangement of photos as part of the archive for all exhibitions. With the assistance of the College of Creative Arts, the SFSU Fine Arts Gallery has incorporated the use of an online website catalog for the duration of the exhibition. The online catalog is innovative and reaches a larger audience at a smaller cost. However, printed catalogs may still be used, depending upon available funding and the exhibition. A color printout copy of the website is still included with the archives.

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Videotaping the Opening Reception is an excellent way to document the exhibition and the artists who have participated in the show. Video equipment may be checked out from the AV department for this purpose. The taping begins with the Opening signage for the exhibition. The person who records the show with this medium should also be aware that in–camera editing works better than post–editing, and take short sequences of the event to convey the feel of the exhibition, including asking artists and class members to comment on the works and the exhibition.

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! The installation team is responsible for the safety of artwork after it has arrived in the gallery; hanging/supervising the hanging (or other type of installation of art; supervising the layout of artwork including proper lighting, wall layout, painting of gallery walls, etc. Every installation is different. The exhibition, “Crossing Boundaries: Belfast, had specific requirements. The following is an account of the artists’ requests and the different ways they were met.

Alastair MacLennan, who presented an installation piece in the exhibition, required a special installation design project. The artist wrote to the Gallery outlining his special requests that required a twenty- foot table with red dirt piled upon it and kept separate from the other artwork. Instead of completely walling off his work, the artist asked for sheets of scrim stretched among the four corners of his space.

A student from Art 619/719 served as the liaison for the artist and researched the kind of dirt that the artist required for his piece. The student calculated how much dirt met the request to have the dirt piled to a height of two feet on a 20’x3’ table. Then, the student contacted the landscaping construction company, about soil. Instead of having the dirt delivered, the student went to the landscaping company and handled the bagging and delivery of the dirt, saving the delivery charges. After the table was positioned, which would allow for handicap accessibility, a table cloth was draped over it. Then students carefully piled the dirt onto the table preventing excessive dust by spraying water on it as it was piled. Water was sprayed on the pile throughout the show to keep it from falling.

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There are two niches located in the rotunda at the gallery entrance that look the same but are actually two different sizes. The different sizes can be important depending on what is installed in the niches. With your back to the center pole of the rotunda, facing the outside doors: the niche to the left was designed to be a coat check. There is a window that leads to a small room behind the niche window. This room is currently used as dance equipment storage. Arrangements to get the key for access to that area can be made with the

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Dance Department by calling x 87603. Because they store equipment in there, it is important for someone to remain nearby while to door is unlocked. Sign installation (or whatever is installed in the niche) should take place as quickly as possible and they key returned immediately afterwards. NOTE: Due to the way the Plexiglas panes are anchored to the niches, vertical lines that run parallel to the sides of the niches may appear “off”. Especially when viewed from an oblique angle (as opposed to viewing from head on). Being a part of the rotunda, the interior of the niches where the Plexiglas panes rest is actually a sectional arc of a cylinder, and not a flat pane. That by itself does not present a problem since an arc section of a cylinder would have parallel sides. However, because the panes are only anchored along the tops and sides of the niches, the eventual shape of the panes after installation would be distorted and does not assume the space of a true cylinder. !

$AQ@KAFQ! General lighting sets the mood of the gallery, while spotlights highlight individual works at their best. Lights are installed as works are installed and requires a team of two people, one who moves the lights and the other to spot the person on the ladder. There are a few different types of bulbs available:

• Flood Lights- give a greater wash of lights • Spot Lights- have a more focused intense light

Bulbs yellow with age so make sure similar colors of light are on the same piece. Wattage of the bulbs should also be consistent if focused on the same works or area, and are in the same tracking. Burnt out bulbs require replacement. Broken light fixtures are either thrown away or labeled with a note that repair is needed. Boxes in the gallery office clearly say on them “working fixtures only”, and “working bulbs only”. Test bulbs and fixtures if unsure and always keep a supply of extra bulbs, both spots and floods, on hand. To get fixtures repaired, ask the Gallery Manager for a Service Report form. There must be multiple broken fixtures to make it worth CATS’ (Creative Arts Technical Services) time to fix these lights.

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0#9*=.&'.),'?)"2.&&.21*)'*$'D1-52"' When removing or installing lighting fixtures, slide down the sheaths

near the top of the fixture while supporting the rest of the lamp. Twist the sheath until it engages from the lighting track.

Remember: This is a two handed job. Never work off balance when on a ladder, and never force the fixture into the track. The light engages in only one way; if it doesn’t work, try twisting in the other direction. Be aware that there are places in the tracking that do not work. If one place does not work, try another close by before deciding if the fixture is broken or the bulb is burnt out.

**A minimum stock of lamps and bulbs should be maintained. Orders can be placed by phone to :

CITY LIGHTS 1585 Folsom Street, SF, (415) 863-2020 For Gallery: (6) GE 90 Watt floodlights (6) GE 50 Watt spotlights (long neck track) For Rotunda: The bulbs are re-ordered through CATS and take a while,

so plan accordingly to receive them prior to the show opening.

S%&C'>5.)-1)-' During a show, bulbs will burn out. Identify the source and make a plan to replace the bulb. Here are some guidelines to follow:

• Find the bad bulb. • Find a helper to work with you. • Remove the entire fixture from the track. • Using gloves, remove the bad bulb. • Replace the bulb with one of the same wattage. • Re-install the fixture and adjust appropriately.

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1. Measure the mat board to fit inside of the frame’s edge, approximately the same size as the glass. To cut the board to fit inside the frame, use an Xacto knife or straight edge blade and cut along the edge of a metal bar. Or you could use the wall-mounted board cutter. Double-check the size by placing it inside the frame to ensure that the mat will fit nicely before continuing.

2. Consider the image that is going to be framed and do any cropping necessary. Measure the image and take into consideration that the mat board might cover a 1/8” border.

3. Subtract the dimension of the piece to matted from the total dimension

of the mat board to determine the mat boarder size in relation to the frame. The top boarder and the side boarder should have the same measurements while the bottom boarder should be weighted slightly to meet professional standards (your bottom boarder will be the widest).

4. On the back of the mat board mark all points where the cuts are going to take place with a ruler, extending the entire length of the board. Check the measurements with the image to confirm placement. This is your last chance to make changes before cutting.

5. Set a flat heavy metal bar on the mat board to weight it down for cutting

and to maintain a straight cut. Cut the window with a mat cutter, which has an angled edge. When using this tool make sure that you cut inside the bar so the edges are beveled inward. Also, when cutting the window, overshoot the corner with the blade slightly, so when removing the center the edges to do tear slightly or fray. Be careful not to overshoot too much, as the cut will be seen in the mat opening. Do not stop in the middle of a cut, it is harder to start again and continue with a straight, clean line. You do not need to press down hard on the blade. Instead, use a few passes, less mistakes are made this way than with a heavy hand.

Then lift the mat to see if the window pops out. If it doesn’t, take an Xacto knife and go over the cuts in the corners once more, do not pull, this will tear the mat.

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6. Once the mat board is cut, make sure the image is clean and dust free. Using acid free tape, hinge the image from the top onto the back mat. Before putting it in the frame, make sure the image is perfectly straight and clean.

7. Clean the glass of the frame on the inside and the outside. Also, clean the frame itself as well before inserting the matted image. If you are using Plexiglas, ONLY use a Plexi cleaner (Brillianize). Allow the frame to dry completely. Once the frame and glass are clean and dry put the matted work in place and close the back of the frame.

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L=#/=1#+' Installing an exhibit involves more than hanging art. Installation covers several areas: gallery preparation, exhibit design, as well as the physical installation of artwork. Duties also include floor plan design, lobby design, walls and painting, art installation, and lighting and presentation. All duties must be supervised by a designated team manager. More often than not, the installation team will not have any installation experience at the beginning of the semester. Preparation includes familiarizing oneself with the gallery and the prep. room, in which all tools, hardware, paint and other supplies are stored. The following check list also illustrates events that should be completed during the installation process.

OV51C121*)'7#"1-)'.),'?)"2.&&.21*)'>5#@(&1"2' 1. Bring you own tools:

Tools are scarce in the gallery and it is necessary to bring your own set, if you have them: Flathead and Phillips head screwdrivers, hammer, tape measure, paper and pencil. Small handheld levels are extremely useful for hanging labels. Confirm which days prior to the exhibition’s opening in which these tools are most in need. PUT YOUR NAME ON YOUR TOOLS SO THAT YOU GET THEM BACK AFTER INSTALLATION IS COMPLETE.

2. Stock up on the following supplies: • Paint: Sherwin Williams, Pro-Mar White, #sw1018, 5 gallon size • White acid free artist’s tape • Mounting hardware- nails and hanging hooks • Eye hooks of various sizes and hanging wire • Bulbs for gallery lighting (varieties listed in LIGHTING section) • Check on other items as needed

3. Finalize a floor plan that complements your exhibit.

A “white model” of the gallery, with moveable walls, is located in the prep. room. The model helps to visualize the space before moving walls and categorizing the exhibit into thematic sections.

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4. Using the floor plan as a guide, adjust the walls to their new positions. Work in teams here: the walls are heavy and can be fatal for one person to handle. There is a black metal device on wheels that helps you to move them. Check with the Gallery Manager if you are unsure of where to find it. Secure the walls to the above metal support beams with the appropriate hardware. Tighten up spaces between panels with the proper tool, located in the prep. room.

5. Tape up seams between wall panels with white artist’s tape. This will connect individual panels and provide an even surface to paint over. Also tape over the holes that run along edges of individual panels.

6. Remove previously used hardware from the walls.

Save these for use again. Spackle the resulting holes and smooth with fingers or putty knife. Do not Spackle over keyhole areas that are used to lock the moveable walls in place. Do not Spackle over the seams between wall panels.

7. Paint the walls. Wait for the Spackling to dry before painting. Larger spackled areas will also need to be sanded before being painted. Always use drop cloths to protect the floor. Make sure that all artwork is removed from the gallery before painting. To save time and paint, paint over the taped and spackled areas with a roller or brush; do not paint the entire wall. Touch up scuffed and small areas with a flat brush. Freshly painted areas will dry to an even finish with the rest of the wall. Keep painting tools separate from the other tools used in the gallery and always clean used rollers, brushes and paint trays thoroughly.

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8. Installation of Wall Works The standard centerline for hanging wall art is 58” from the floor; this means that the centerline of the artwork that you are hanging, no matter what the dimensions, will rest at 58”. Shelves should be installed so that the platform rests at 48” from the floor. Spot (gallery lingo for “place”) the artworks first on the floor before installing. Draw a diagram and work out the measurements on paper. Past experience has shown that spotting facilitates a straightforward installation, and diagramming on paper is useful for most complex situations.

9. In order to figure out the proper spacing of artwork on the wall, you need to calculate the following:

• Add the combined width of all the artwork for one wall. • Measure the width of the wall (don’t measure from the

floor as it is usually uneven and will distort your measurements.

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• Subtract the combined width of the artwork from the width of the wall.

• Divide this number by the number of spaces around the work.

• This will give you the amount of space (in inches) that should be between each piece. If the measurement is odd, you can add the extra on the ends, but the space between the actual pieces should remain the same.

• The first piece installed will need to be an end piece (do not start in the middle). If you are using only one nail, you can determine where the nail should be placed for the piece to hang straight by dividing the width of the piece and adding to the previously determined space needed on either side of the framed work (the space in between pieces as hung on the wall).

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You have three pieces of the same width: 3” 3” + 3” + 3” = 9” Wall width= 48” 48” – 9” = 39” Since there are three pieces, there will be four blank spaces

surrounding the works: Each space will measure 39” / 4 = 9.75”

(If you would like each piece to be equidistant to the next.) !! !

10. The proper hardware (nails and mounting hooks) is available in several

sizes, corresponding to the weight of a hanged piece. Most works only require one hook and one nail, but longer or heavier pieces will require an additional set.

11. Adjust Lighting

Once all the pieces of your show are installed, adjust the ceiling lights to spotlight them. Try to spotlight several works with one

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or two lights. Be careful when handling the lighting; any bumps, etc. can cause a good bulb to break.

12. Clean Up Clean up as much as possible after completing individual duties, reducing last minute rushing. A final clean up of the gallery by all students should be the last step in the installation process and includes sweeping the floors, polishing Plexi cases, touching up visible scuffs on walls from installation, cleaning and returning all tools to their proper places.

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Although the ladder is a great invention of mankind, it can be very dangerous when not properly used. Following these steps will ensure your safety as well as that of others:

• An appointed team consisting of 2 or 3 qualified members in the “Ladder Handling” field is essential.

• You must handle the ladder in a professional manner, always be conscious of your surroundings.

• At absolutely no time should you go under the ladder. • When setting up a ladder, be sure to check for puddles when working

with electrical equipment. If using electrical equipment while on a ladder, be sure to use a ladder with rubber footings- this is a grounded ladder.

• Be sure to set the ladder on solid and level ground and have another member of your team hold the ladder while in use. Communication is vital!

• Do not step to the highest rung of the ladder. • Make sure no items are left on top of the ladder.

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The following is an abridged version of the Smithsonian Guidelines for Accessible Exhibition Design. The full version includes more details regarding floor plans, lighting, exits routes, etc. and is located at www.si.edu/accessibility/SGAED. In addition, the Smithsonian Accessibility Program’s main website, www.si.edu/accessibility, has a wealth of information regarding accessibility policies.

<.)-1)-'X'>5**"1)-'25#'>#)2#/'D1)#' The average eye-level height of an adult who uses a wheelchair is between 43- 51 inches, compared to 61 inches of the average eye level of a standing adult. The Fine Arts Gallery “center line” for hanging a work of art is 58 inches, an acceptable middle mark that can accommodate most viewers. However, it is important to note that the smaller the item, the higher the center will be for people using wheelchairs. When mounting small works, consider the appropriateness of lowering the center line. !

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3/.$$1@'0*%2#"'X'3%/)'6/*%),'G8.@#'G8#@[email protected]*)"' Straight, one-way pathways must be at least 36 inches wide in order to accommodate single wheel-chair mobility. A 180-degree turn necessitates a minimum of 60 inches in diameter or a 36-inch wide route for corner (T- shaped) turns. These measurement guides are applicable for temporary rooms and pathways formed by walls, podiums or freestanding sculptural works.

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6=*1,1)-'3/1881)-'<.Y./,"' High contrasting floors, walls and platforms are the best way to avoid tripping hazards for people with low-vision. Objects placed on the floor rising less than one foot are considered tripping hazards. The problem is acerbated if the object's color does not contrast with the floor or if the surrounding lighting is low. Designing clear traffic pathways is compulsory in these, low-light situations.

L=#/5.)-"' Works hung from the ceiling should leave at least 80 inches of space between the lowest part of the work and the floor. It is also encouraged to place a different, detectable surface such as a rug, under the work to help people with low-vision orient themselves while walking under the work.

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Installations, interactive stations or reading tables should consider the reach capacity of people in wheelchairs. When unhindered by furniture or other objects, controls that require a forward reach should be no higher than 48 inches and no lower than 15 inches above the floor. For actions requiring a side reach, access to controls should be installed no higher than 54 inches and no lower than 9 inches from the floor. When using a table, the height of the desktop should be at about 34 inches. Objects should be no more than 25 inches away from the edge.

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! The Graphic Art Design/ Signage Coordinator oversees the design,

signage, production and distribution of all print graphics, including the catalog, invitations, posters, flyers, programs and banners. Also oversees the design and production of all wall graphics and signage created with the Gallery’s vinyl cutter.

Ideally, one person experienced in graphic design or production will act as the Art Director and assure a consistent look to design all of the print/ exhibit graphics for a show. In addition to above, the Art Designer oversees the design and production of all wall graphics including the title wall, supertitles, labels, didactics and gallery signage. The banner also carries over the graphic theme of the show. As much as possible, use specific guidelines for font usage, colors and the basic “look” of the exhibition. The graphic designer works with the exhibit layout designer and any designers producing printed material.

Planning well ahead of time for any printed materials that will be needed before the opening of the exhibition is absolutely necessary. The Art Director lists all of the print graphics, exhibit graphics, labeling, didactics and signage. The individual jobs are then delegated to students who are supervised through production: proofreading, final proofing, and printing or copying, and completion. Do not use the image of an exhibition in a variety of poorly designed publications. One strongly designed graphic is far more powerful than a handful of weaker ones. The ‘look’ should carry through all exhibit graphics and signage.

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A banner for the outside front pole is stored in the gallery office between shows. This is constructed of white, coated canvas and can be used with vinyl lettering to advertise the show to a wide potential audience. The banner is held up using coated wire, also stored in the gallery office. Keep the curve of the pole in mind when you are designing graphics for the banner.

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! With the addition of the vinyl cutter to the gallery, beautiful and professional quality signage and graphics can be created for installation. The following are general instructions for designing, cutting and installing vinyl signage.

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Turn the Power switch OFF (left side of the front of the plotter). To release the roll, GENTLY bend the top handle back HALFWAY (just enough to release the vinyl and slide it out from the rollers on top).

NOTE: This part of the machine is broken and is extremely delicate.

Roll up the excess vinyl and lift the roll directly up from its holders. Pull apart the end pieces to remove the bar in the middle of the roll and place it on the new one. Load the new roll onto the holders facing the same way and feed it up into the top opening on the back of the machine. Align the side edges of the vinyl that hangs down the front side with the same edges where they are just reeling off the roll. Turn Power ON and verify the plotter rolls up automatically. Again be GENTLE with the HANDLE!

>/#.21)-'Z*%/'7*@%9#)2' • On the left computer use Login: student Password: student • Open Adobe Illustrator and select File -> New • Set the dimensions for the new document under File -> Document

Setup o Set Height to 19.5 inches (printable width of vinyl roll) o Set Width to match the total width of the text or design

• Select the Text tool “T” from the left side column and draw a text box inside the guidelines. Type your text and make sure to set the correct font, size, etc. (You can also import text and designs from other programs)

• NOTE: The plotter will not cut the first few letters or piece of a design correctly, so you will need to include some extra letters before your main text.

• Select all finished text (apple key + A) then click on the Type menu at the top and select “Create Outlines”. (If printing a design you will need to use the Live Trace command)

• Select all outlines (apple + A) and copy them (apple + C).

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E&*221)-'+125'F.@G1-)' • Open MacSign and paste your outlines into the workspace (apple + V). • If your outlines are wider than the 19.5 inch roll, rotate them vertically

by clicking and dragging one of the corners (holding Shift will keep them straight).

• Drag the outlines into the plot box in the lower left corner. • At the top select Plotter -> Page Setup

o Set Horizontal to 19.5 inches o Set Vertical to match the length of the text or design

NOTE: Make sure to adjust the vertical length to fit your document because the program automatically sets it too high (ex: 987 in.) and the roll will become misaligned when plotting.

• To print select: Plotter -> Plot -> OK -> GO!

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Make sure that all of these steps are done slowly, to keep the signage smooth and unwrinkled.'

1. Peel off all of the excess vinyl from the paper, leaving the text or image that you have cut (we call this “picking”), use and Xacto blade for this. Be careful not to remove punctuation or the dots to i’s.

2. When only the text/design is on the white backing, cover the whole thing with transfer tape and apply pressure.

3. Rub the letters with a squeegee so that they adhere to the transfer tape. 4. When you’re ready to install the text onto its surface, use a level to make

sure it’s straight. Use blue painter’s tape to secure the graphic to the wall. 5. Carefully pull the transfer tape away from the backing paper. As you peel

up the transfer tape the vinyl will stick to the tape and not the backing paper. Remove the backing paper and slowly lay the transfer tape back against the wall. This can be done in sections.

6. Rub the transfer tape again with the squeegee. Then slowly peel off the transfer tape. The vinyl will now stick to the wall, and not to the tape. Go slowly, some letters will stick.

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Design the graphics using Adobe Ilustrator, carefully following size and digital specifications provided by the printer. Our most recent choice of print shop is PS Print in Oakland (contact information provided in the beginning of this

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handbook). Proof the final copy and type with the Gallery Director and confirm quantity needed before ordering.

IMPORTANT: EVERY POSTCARD AND/OR PUBLICATION MUST INCLUDE CREDIT AS FOLLOWS: “Exhibition Supported by the University’s Instructionally Related Student Activities Fund.”

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The label format is modeled after the one used by the San Francisco Museum of Modern Art. Specifications are as follows: • Size of label: 5 x 5 inches • Font, size: 18 point Palatino, unless otherwise noted • Margins:

Top - 0.75” Bottom - at least 1.25”, depending on length of text Left - 0.5” Right - at least 0.1”, depending on length of text Gutter - 0” Header - 0.5” Footer - 0.0”

G.98&#'D.C#&' line 1 artist’s name bold, upper and lower case, First name first (18 pt.) (space 18 pt) (space 18 pt) line 2 title of piece bold italics, no quotation marks, capitalization as specified

by artist or lending institution (18pt). (space 18pt) line 3 year plain numbers, unless included in the title (18 pt) line 4 media plain letters, lower case only. Not to be confused with

MEDIUM (i.e., “painting” , “sculpture”), this is a list of the materials used (i.e. “oil on canvas”). Catchall terms like “mixed media” and “installation” are appropriate for complex pieces. (18 pt)

line 5 dimensions height x width x depth, followed by “inches” of “feet”. Use instead of fractions. “Dimensions variable” is preferable to “missing” or “unknown.” (18pt)

(space 18 pt) line 6 collection plain letters, upper and lower case (15 pt)

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For the professional artist shows, the information you need will be found in a Filemaker Database on the Gallery Manager’s computer. 1. Open Filemaker database (listed by exhibit title). 2. Select “Labels” from the pop-up folder of layouts in the upper left corner 3. Following the printing instructions that follow. HINT: Make changes/corrections in the “data entry” layout (easier to read). For the student artist shows, you will make labels using a MSWORD document, and insert a text box. (select INSERT from the pull down menu, then select TEXT BOX). Double-click on the text box and you will be able to set the size, internal margins, and color and thickness of the “box” (black, 3 pt). Now click INSIDE your box and type your information.

Artist’s Name Title of Piece year media dimensions ( h x w x d) collection

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It is easiest to copy a number of boxes into your document and then fill in the information inside of each. Labels are then printed on clear full sheet label paper, using the gallery’s laser printer. Rules of thumb for printing, cutting, and placing labels: 1. Print two labels each on one 8.5” x 11” sheet of paper. • Always print a trial run on regular paper for proofreading before printing on sticky paper. • Use Avery full sheet clear sticky labels ($20 per pack in bookstore or OfficeDepot). 2. Use an x-acto knife and a straightedge ruler (NOT scissors) for cutting labels, and always cut on a cutting board. 3. Labels are generally placed so that the bottom line of text is 48 inches from the floor, and 2 inches away from the work. • For consistency’s sake, if one label is placed to the right of a piece, all labels should be placed to the right. Additionally, if one artist’s statement is placed beneath the label, all artist’s statements should be placed below the label. Didactic panels and artists’ statements should conform to two or three different sizes at the most. • Leave a one-inch space between labels and additional wall text. • Small works placed within a vitrine or simply close together may look neater if small numbers are placed next to the objects, with the corresponding numbers on the labels grouped on the wall.

G*9#251)-'2*'351)('6C*%2' About “Art Identification Labels” (From the Iris & B. Gerald Cantor Center for Visual Arts, Stanford University) The printed label that is displayed with each object includes, in this order: 1. Who made it. 2. Where and when it was made; the artist’s nationality and dates of birth and death (if known). 3. Title or identity of the object and its date (titles are in English; alternate names appear in parentheses; all dates are A.D. unless noted otherwise). 4. Medium/technique: what it is made of, and how (briefly).

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Edition information for prints and casts (if known). 5. Credit line: how the objects came to the museum. 6. Accession or loan number, assigned to each object to identify it in the museum’s records.

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Avoid “widows” and “orphans” — a column of text that begins, or ends (this is more common) with one lone word. It is very awkward for reading, and is not aesthetically pleasing. Manually breaking lines (not relying on the computer) is a typesetting must. Also, breaking lines where there is a comma close to the end looks better, and reads better. Keep language as clear as possible. Remember the diversity of your audience (high school students to graduate students and professors) and tailor didactic text accordingly. Avoid using obscure words, or terms exclusive to a particular discipline. If you must use them, define them.

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()(#*+)*7! Didactic panels provide information about the exhibition. They include the following information: the name of the artist, a particular artistic movement, the history relating to the work, or an explanation of technique or medium. Didactic panels are essential to an exhibition, as they explain important concepts to the public, teaching them more about the exhibit and its purpose.

"IAGCPAFCD!LH>!(CBCPHVAFQ!(AGE?KA?!8EFCPD! • Use clear and concise language and define any technical terms. Remember, the general public is your audience and they come from various educational backgrounds. • Use at least twenty point type. The panel should be easily read at a distance of five feet. • Do not use right justification. The text should be left justified only. It is easier to read. • Do not hyphenate words. • Mount panels at eye level (center at 48 inches) or where appropriate in relation to the work. • Provide copies of didactic panels to those involved in education, those giving docent tours, and those working on the web site.

"IAGCPAFCD!LH>!%GAKAFQ!#>KADKD!7KEKCJCFKD! After a work is accepted, we ask the artist to write a short statement about it. This statement should address major themes in their work or in the piece, describe some of the symbolism involved in the piece, or their inspiration for creating the piece. There are four things the statement submission form should clearly say: • The deadline for submissions of statements is final. No statement will be accepted after the deadline. They must be submitted to the designated location (such as an envelope on the door to the gallery). • Statements must be no more than 30 words long. This is plenty of room and the final edited statements range from 25 - 30 words in length. • Statements are edited for clarity and conscision. • Artists who have more than one piece in the show should submit one statement. In it, they can describe both works. The statement will be hung next to the piece with more room. The job of editor is to clarify. If statements are long and rambling, find the

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sentence that contains the main point or points, and use the artist’s own words to elaborate. A paragraph contains one main point. If there is more than one main point, then two paragraphs are sufficient. The entire statement should not be rewritten, however, almost all of them need spelling and grammar corrections, or word substitutions. At first contact, MFA students should be told that artist’s statements are needed for the exhibition. The MFA students should be given the same guidelines and deadlines. Although it is more important for the MFA students to have statements, there is not enough time to track down artists.

>/#.21)-'Q1"12*/'U/1#),&;'71,.@21@'D.C#&"' The goals for a visitor-friendly label style are to appeal to a broad audience, to be used by the majority of visitors, and to create positive experiences for them. Although each museum is unique in what it has to say, below are generally useful guidelines on how to present information through user-friendly labels. To this end, the label writer should:

• Begin by relaying information that is directly related to what the visitor experiences while exploring the museum setting and context;

• Vary sentence length in order to keep the visitor’s attention; • Use short paragraphs, divided into small chunks, instead of writing in

large blocks that are not easily digestible (refrain from using more than 150 words);

• Refrain from employing metaphors, because they tend to overcomplicate the information that is being conveyed;

• Use alliteration only if absolutely necessary, lest it come off as a gimmick • Avoid exclamation points, which tend to be overly forceful; • Test humor on a visitor sample before using it on a label, because humor

is subjective and has potential to misguide or off-put the visitor; • Use quotations if they advance the narrative by adding color or another

voice to the exhibit - unnecessary quotes may teach the visitor to disregard the labels;

• Expect visitors to want to read the labels and thus only include information that a majority of them would be interested in;

• Write informative paragraph titles and subtitles to help break up labels and transitions between thoughts and to advance the narrative;

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• Reward the visitor with a snappy ending that provides closure, reinforcement, or new insights.

Finally, the label writer should not use the newspaper journalism model because of its inherent length and structure. The writer should stay flexible within the label system, to interrelate labels and their settings, and set up a conversation with the visitors. .

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*>CEKAFQ!E!8>HQ>EJ!EFG!8PEFFAFQ!+HI>D! Creating a program for an exhibition requires consideration of the material of the show, the age of the audience, and the staff available. A program for elementary school children differs in context from a program set for high school students. Education is a big job that requires team collaboration. Unlike elementary schools, high schools rarely have access to school buses. Permission from parents and school administration takes time. Make arrangements as early as possible for schools that are far away. However, SFSU is strategically located within waking distance of a public high school that is both artistically and academically advanced: Lowell High School. This high school has highly motivated teachers who enjoy extra- curricular activities, especially with pedagogical qualities. Working with high school students is different than with younger students. They see themselves as young adults, not children, and do not like being talked down to. Yet, they are not adults and need to be watched and supervised when in the gallery so that they do not touch the artwork. The teacher should be there to help with crowd control, but you cannot rely on the teacher alone. The students may also need to be constantly engaged in dialogue to hold their attention when in the gallery. Ask them intelligent questions to which they can find the answers by looking at the artwork. A good idea is to create a worksheet for the teachers to give the students before they come for a tour of the gallery. Ask questions relating to the actual material used in the work, or to the information found on the didactics. This will focus the students attention not only on the artwork displayed in the exhibition, but the information provided about the work. Before scheduling a school tour, it is preferable that the students have some sort of preparation. If they know something about the show in advance, they will have a much more rewarding experience in the gallery. A teacher’s packet is always a good idea so that the teacher is informed about the show as well as the students. The packet can be in the form of a curriculum guide, which includes some art history, biographies of the artists, information on socially related issues, a vocabulary list for the students and gallery related activities. But if there is little time or few sources to write one, gathering some miscellaneous articles about the exhibition or sending the show’s catalog can be useful as well. DO NOT INDUNDATE THE TEACHER WITH TOO MUCH INFO!!!

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Teachers are overworked as it is and will most often balk at a thick curriculum. Also, it is important to include some sort of visual image of the work in the show along with the written material. If the work is obscure, the verbal information will not make much sense without having a visual grasp of the work. DO NOT RELY ON THE TEACHER TO PREPARE THE STUDENTS FOR A TRIP TO THE GALLERY. Often, it is enough for the teacher to arrange bringing in their class. Teachers expect you- as the gallery art educator to do the educating. Some teachers will actually use the curriculum guide and do the recommended preparations. If that is the case, then a class tour may simply be booked. Ask the teacher or administrator when booking the tour; otherwise it may be necessary for a member or members of the art education team to visit the school in advance. Slide shows are a good way to introduce the work. It is also easier to speak to a large group when their concentration is on a picture and not you. If slides are not available, a discussion with some sort of pictorial representation is also good. When making a presentation it is important to have in mind several concepts and/or vocabulary words that these students should learn. When leaving, give them a worksheet like a word search or questionnaire that reviews the material just covered. An important part of education is organizing tours with local high schools. A good place to start is Lowell High School. Because of their convenient location, the teachers will likely show more interest in bringing their students to the exhibit than other high schools. Contact the necessary people in different schools, and make it clear to them who is the liaison if they have any questions about anything relating to the exhibit. Keep in mind that the teachers or administrators who are contacted have rather busy schedules. It may be difficult to make the initial contact with them, but BE PERSISTANT. Personally go to the schools to attempt to get in touch with that person. Leave messages for them stating who you are and what your intentions are if they are not there or tied up at the moment. Follow up with phone calls if necessary. Letters should be written to both the teachers and the administration at the school about arranging tours asap. The time taken to arrange contacts may be frustrating at first, but give it time, they will get back to you.

0#91),#/'>.&&"'./#'O""#)21.&! When a tour is scheduled, call the teacher a week in advance to confirm the time and date, and then the day before just to make sure. Keep the number of students in a tour no larger than 25. The gallery is too small a space to give a

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quality tour to larger groups. In large tours, the students will not be able to hear the docent as well. Furthermore, they will have trouble seeing what it is the docent is talking about. It is also next to impossible to keep students from backing into the artwork when moving large groups around in small areas. Chaperones are also important. In addition to a teacher, at least one other adult supervisor from the school should be there. In the event that chaperones fail to accompany scheduled classes, teachers are encouraged to call and forewarn the contact. The Gallery Director should be immediately notified so that enough staff is scheduled to help during the scheduled tour. Another important part of education is preparing and scheduling docents for the school tours. The docents should ask specific, short questions of the students about the exhibit. DON’T BE VAGUE! The students are less likely to interact during the tour if vague questions are asked. Also, it’s a good idea to ask the students their personal opinions about the art presented, or questions pertaining to the process behind the art. Make the students involvement in the tour a priority so it is interesting for them and they will look forward to coming again in the future. Also, schedule docents for the tours as far ahead of time as is possible so there is no question as to who is the docent on what day. It may also be helpful to have a possible back up docent just in case someone can’t make it for some reason. Emergency planning helps eliminate unnecessary stress and the burden of having no docents available. You, then, are responsible for the tours.

Lastly, ALWAYS THANK EVERYONE YOU WORK WITH FROM

THE SCHOOLS!!! If you do not remember if you thanked them before, thank them again. Make sure you let tem know that their cooperation was greatly appreciated so as they will be anxious to return to the next exhibit.

4/121)-'25#'3#.@5#/'>%//1@%&%9' Decide what age students you would like to see at the exhibit. A good indicator is to refer to California Framework. This guide will let you know what subjects each grade in the public schools is studying. The subject matter of the exhibit is a great way of supplementing the regular classroom curriculum. It is also important to consult the teachers to find out what they need. Once you have decided which grade the materials will serve, contact the schools by sending them a flyer of the exhibition and a letter inviting them to

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tour the show. Inform the teachers that a curriculum guide is available at request. The curriculum guide is a key ingredient in attracting local teachers to bring their students to the exhibition. Teachers who come for a tour should have, in fact, received a copy of the curriculum guide. Send the packet to the schools as early as possible so that the teacher will have adequate time to prepare his or her class for the visit. The education curriculum should include background material on the show such as history and art history. Other information useful to the teacher is biographies of the artists, a bibliography of related books, articles and resource. A section can be included about How to Look at Art (refer to page in this handbook ). The teacher may not know how to teach students about art, so a few tips and guidelines may make the experience less intimidating. A crucial aspect to the curriculum guide is the suggested activities and topics section. Previsitation activities include: (1) introducing the students to museums and galleries; (2) enabling them to try our perceptual learning skill; and (3) integrating the subject matter of their upcoming visit with their classroom studies. This advance preparation greatly increases what students will get out of a subsequent learning experience. Provide detailed information, but do not go overboard. Teachers do not want to spend too much time dissecting and reading the materials. In other words, make it concise! Post-visit activities can reinforce and put the learning experience into perspective, as well as build on the high levels of interest and enthusiasm generated by the fieldtrip. Julia Marshall is a professor in the SFSU Art Department, specializing in art education, and has generously helped with activities for visiting student tours. Her advice is invaluable to this part of the guide.

G.98&#'>%//1@%&%9':%1,#' The enclosed Curriculum Guide applies the following: Museum Etiquette Tips for Visiting the Gallery History, Maps, Newspaper Articles Artist Biographies Other information pertinent to the exhibition Activities for visiting student groups.

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>*)2.@2"'$*/'G@5#,%&1)-'OV51C12'3*%/"' For a complete listing of the public schools in San Francisco you should refer to the website for the San Francisco Unified School District, www.sfusd.edu. If you would like to include private schools, you can look up a list on www.greatschools.org.

How to LOOK at ART Looking at art can be an intimidating experience, particularly for the first time. The following information provides a few guidelines to prepare your students for their trip to the exhibition. There are basic elements that make a work of art. These terms are the building blocks for visual art. Although we are often familiar with these terms, it is the process of recognizing them in a work and being able to discuss them that makes looking at art a challenging and regarding experience.

35#'[Q1"%.&'Q*@.C%&./;\'O&#9#)2"'*$'6/2' COLOR Hue is the name of the color. Intensity is the quality of brightness and sharpness of a hue, or the lack thereof. Value refers to the degree of lightness or darkness in a color. Value can also be used in the absence of color. In a sculpture, for example, value refers to the contrasts in surfaces and textures, rather than the contrast in color. LINE The line is a continuous mark on a surface. Often artists use line to emphasize and distinguish figures from one another, like an outline. Artists also can deemphasize line. This can be easily seen in the works of the Impressionist painters who emphasized light rather than distinct shape. Line can also be used to refer to movement in a piece of art. The direction of shapes, angles, and figures in a work suggest a directional movement. For example, a curve suggests movement and flow, while a jagged line suggests tension and angst. The artist’s expert use of a line can create various effects. TEXTURE The quality or essence of a work of art that is created by the way the materials were used. Texture often refers to the “feel” of a piece of art. The materials an artist chooses are a means to achieve a certain feel for the final artwork.

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SHAPE Shape refers to an area of object which is defined by other elements such as color and texture. It is something that is seen in an outline, however line is not necessary to create a shape. SPACE When using space to talk about works of art, it refers to the dimensionally of a work. The space or area which a work exists in is two or three-dimensional. In a painting which is two- dimensional, space can be created by the other elements. MASS It is the actual weight or implied weight which the piece occupies.

35#'E/1)@18&#"'*$'6/2'7#"1-)' An artist uses the elements to create a work of art. The arrangement of the ele ments into a whole is achieved by the following principles of design. BALANCE Balance is achieved in works of art when there is a sense of equilibrium or sameness. Symmetrical balance is when two halves of artwork mirror each other. Asymmetrical balance is achieved, not with mirrored images, but with the balance of other elements such as color. For example, a large shape painted in a light color, may be balanced with a small, dark shape. EMPHASIS Emphasis is a way of combining elements to create a stress or an importance. Artists will often use this principle to direct the viewer’s attention. Obvious contrasts, and sometimes n ot so obvious contrasts are made to engage the viewer. HARMONY Harmony is the arrangement of elements to emphasize their similarities. This effect is accomplished through pattern and repetition. ' VARIETY This is the arrangement of the elements in intricate and complicated ways. Variety is achieved through diversity and change. GRADATION Gradation is the use of gradual changes in the art elements, i.e., color, value. The changes are slow and step-by-step.

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MOVEMENT AND RHYTHM The regular repetition of an element or form. The rhythm of a work produces a feeling of m ovement and/or a beat. PROPORTION Proportion refers to the relationship of elements to the whole piece. In painting, if there is a greater proportion of intense hues than dull hues in a work, an emphasis is emitted. Proportion also can refer to size. If one figure in a composition is made to be much larger than the others, it is said to be out of proportion. This gives an emphasis on the larger object. UNITY Unity is the quality of completeness or wholeness. All of the elements and principles of design contribute to the whole.

?)2#/8/#2.21*)' Some works of art are very straightforward and are easy to understand. There are works, however, that require a more detailed and introspective look. Art is often subjective and it is up to the viewer to make a personal interpretation about what is going on in the piece. Encourage the students to engage themselves with the art and to experience the feeling and emotion, as well as the content and the meaning that is transpired through seeing the art face to face.

318"'$*/'Q1"121)-'.'F%"#%9'*/':.&&#/;' • Take your time looking at art. You do not have to see everything on display in one visit. • Read the labels posted. These labels may include information such as title, artist, date made, medium used and other details about the piece. Some labels also provide historical background and other interesting facts. • Make up stories about what is happening in different works. • Ask at the desk if there are materials or activities which accompany the exhibition. • Please do not eat, drink, or smoke. • Please do not touch the art. The art work is very delicate and so it is important not to put hands on the work. • Please leave bags and backpacks at the front desk. • Please be courteous to the other visitors by speaking softly.

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It is good to develop notes around the following reference points: Objects: • Aesthetic properties in materials, design, form, texture, color, line, or craft. • How objects are used to fulfill learning goals ' Context: • Important background facts • Connections among objects and to society • Similarities and differences

O$$#@21=#'3*%/'3#@5)1W%#"' While younger adolescents are eager to contribute to group discussions, the guidance of the interpreter is necessary to provide direction. The recommended touring method is Inquiry-Discussion, which promotes interaction between members of the class and the adult interpreter. Young adolescents enjoy a sophisticated “adult” setting. They want to be treated adult. Guides should be sure that the adolescents know the “rules” of the tour. Guides should ensure that the tour has meaning. The adolescents should know clearly what they have learned, and jargon should be avoided. Young people aged 14 to 18 should be considered adults in their ability to think abstractly. Students can entertain more than one abstraction at the same time and use rather sophisticated language. However, they are often motivated to learn subject matter in an organized, structured manner. Many have not made connections between learning and life’s experiences. Open discussion may or may not have been part of their academic experience. They can be egotistical; preoccupied with the opposite sex, self-conscious about how they look, and sensitive about how others judge them. Many do not want to be singled out for attention and may, therefore, seem disinterested and unresponsive. Adolescents are highly susceptible to peer pressure,and they are fearful of “looking stupid”. Therefore, they are the least likely of all age groups to respond to direct questions. They ar e inclined to reject what they do not want to see, feel, or learn about. They do recognize th at artistic objects embrace differences of opinion and attitudes. They prefer traditional, re alistic objects. Uniqueness and antiquity generally do not interest them, nor does artistic in tegrity. Guides should avoid becoming an extension of the classroom by lecturing too much. They

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should present openended questions relating to interpretation, meaning and values, and encourage generalizations. It is important to associate information being presented with the current interests of adolescents as well as their school experiences. Sincerity is not lost with this age group, nor is flexibility. Because student attitudes may change quickly, docents should also be prepared to be cooperative, authoritarian, interested, etc. as situations vary. Feelings should be acknowledged. Students at this age are able to work cooperatively with other members of a group, but may test the authority of the tour guide. Mutual problemsolving strategies involving new and unusual ideas may take some of the focus away from power struggles. And, since adolescents may not expect museums to make large contributions to their lives, a truly relevant tour can be very inspiring.

35#'?)W%1/;P71"@%""1*)'3#@5)1W%#' The Inquiry

Discussion technique requires that guides be discussion leaders. As a technique, it is the most likely to change visitors’ attitudes because it builds upon their own interests, perceptions, responses, and questions. Visitors have the opportunity to hear and learn about the ideas of others in the group. Interpreters are called upon to guide the discussion through questioning techniques and the interactions they generate. Information volunteered by the guide in a concise, enthusiastic, and simple way can move the group deeper into the subject(s) of the exhibit. Guides should have sufficient historical and technical knowledge to provide “settings” for the objects, more through relating the general background of a culture, period, or concept than through providing specifics. "IAGCD!D@HIPG!AFK>HGI?C!K@CJDCPBCDT!K@CF!EDY!DKIGCFK!Q>HIVD!ZICDKAHFD! DI?@!ED[ ! • Have you studied this subject? If so, what was the most important thing you learned? • What would you like to know? Why? • Tell me something important you know about this subject. • Have you heard that we have something special here? What would you like most to see? • What are your hobbies? Directions should be given about what to expect during the tour. The educational objectives of the tour might be the focus of questions at the beginning.

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During the tour, questions are used to direct attention to the aspects of the exhibit that support tour objectives. Directed questions focus discussion on objects, while object- associated questions refer to their usefulness, ramifications for society, and aesthetic value. A summary of the tour and its objectives should be presented at the end, with a “brief looking time” provided either before or after the summary. Another summarizing technique is to ask what visitors enjoyed and what they learned most about.

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Memory Questions These relate directly to what is seen: facts, names of things, precise recall, exact definitions of objects or events. They may begin with the words, “how many”, “what is the name”, ”which one…” Convergent Questions These seek the most appropriate answer or the best answer. They focus on specifics. Convergent questions and answers zero in on what the visitors already know and perceive. Divergent Questions These encourage multiple answers, and are, therefore, “openended,” because visitors are encouraged to think of many possibilities. These questions often begin with the words “what if” or “how many ways” “imagine that …”. These questions demand imaginative thinking and exploration of all facets of an issue. Judgmental Questions These stimulate each visitor to evaluate and to formulate an opinion, value, or belief that is personal, and perhaps, unique.

D#=#&"' Naming Objects Guides should both explain why objects in the tour have unusual names and define unusual or technical words. Questioning pertaining to names corresponds to “memory questions.” Discriminating Characteristics of Objects and Events Interpreters should lead visitors through the challenge of distinguishing characteristics of objects before they move them into more complex ideas related to history or cultural context. Discriminating questions are usually concrete and call for specific answers. These questions would be the “convergent” type.

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Classifying and Grouping Objects and Events Questions that assist people in classifying and grouping objects fall into the “convergent” category as well. This is accomplished through grouping objects by their common elements, which might include: position, direction, shape, size, weight, time, force, and volume. Some objects may be classified in many ways. For example, animals, plants, or works of art can all be classified according to appearance and also function. Visitors can be directed to note organizational and design patterns in art and nature. They can also compare and contrast features of objects. Making Inferences It is at this stage that historical connections should be discussed. The ways in which people work, travel, receive instruction, keep records and documents, create things, use ornamentation, hold religious beliefs, organize governments or structure societies, are among the many cultural factors that might be used to connect objects to cotemporary life. Openended questions are used to encourage visitors to make inferences based on what they know. The process of drawing insights together is an important part of inferential thinking and learning. In an anthropology museum, for example, visitors might be asked what could be done with a particular plant eat the fruit, weave the stems or vines into baskets, use parts for soap, use the fibers for thread, dye, and so forth. Evaluation and Judgment Through evaluation, visitors develop reasons to support their viewpoints. They are asked to: choose, decode, evaluate, judge, assess, give an opinion, tell which is preferable. These c orrespond, of course to“judgmental” questions. Waiting for Answers Waiting for five or six seconds after asking a question may seem difficult to guides at first, but it establishes an informal, unhurried attitude that is important in establishing the tone of tours. If, after the wait time, there are no responses, guides may restate the question or explain the subject again, giving other definitions or using different words. Several questions should not be asked in rapid succession. Visitors need some quiet pauses during the tour. Encouraging Visitors Questions Good touring allows visitors time to ask questions of interpreters. By means of visitors’ questions, guides determine the level at which they can provide information. Guides can also move readily from seemingly superficial questions into discussions that are concerned with learning objectives. The asking of factual information by guides, however, may embarrass visitors. It is better to provide facts and to ask visitors to make comparisons, contrasts, and inferences about information. Encouraging visitor interaction promotes

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positive attitudes toward the museum and its exhibits and toward new learning experiences. Summary Successful tour guides choose appropriate tour techniques according to the visitor group. Questioning strategies follow a definite pattern, using memory, convergent, divergent, and judgmental questions. These lead from simple to complex, and help visitors think more abstractly about objects and exhibits. Tours can also be enhanced by including games, handson materials, storytelling, and audiovisual and computerized aids. Preplanning is the best assurance of successful tours. *adapted from: Grinder, Alison L. and McCoy, E. Sue. The Good Guide. Scottsdale, Arizona: Ironwood Publishing. 1985. ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '

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L8#)P?)W%1/;'>*)=#/".21*)"'="R'D#@2%/#P"2;&#'3*%/"' Leading a tour is a complicated task that requires guides to meet the visitor at his or her aesthetic, educational and social level. While most visitors are familiar with traditional docent-style tours where a trained expert recites the meaning and history of a work, this training packet provides guides with a set of tools to host conversation-based tours within with the SFSU gallery. Open- inquiry tours are more flexible, welcoming and often result in higher learning retention. However, the best tours are those where the guide feels comfortable and confident. So, discover your own unique style by adopting the methods that work best for you.

:#)#/.&'318"'$*/'G%@@#""$%&'3*%/"TI' • Take time to get to know the students/visitors during the introduction

of your tour. • Don’t be concerned about covering everything in the exhibition. Most

tours last about 30-45 minutes (less for children) and focus on 1-3 works.

• Speak slowly and clearly. • If you sense that a visitor is unfamiliar with the themes of the exhibition,

don’t be afraid to simplify. It’s better to reach the students than to speak over their heads.

• However, focus on key concepts, themes and vocabulary to guide students to an understanding of more complex concepts.

• In addition, reinforce and repeat key themes and vocabulary throughout the tour. Practice repeating the same information in slightly different ways.

• Summarize key points throughout before moving on to new ideas or works.

• Increase answer wait time. Asking a question and then waiting for what seems like forever can be hard. Allow the group time to thoughtfully consider your question and try to resist answering for the group.

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As visitors enter the gallery, introduce yourself by stating your name and title (and learn the visitor’s name as well). Explain to visitors that your job is to answer any questions. Acknowledge that contemporary art can sometimes be confusing and express your willingness to engage in two-way dialogue that addresses their particular interests. You may also consider briefly sharing the mission of the SFSU Gallery before describing the theme of the exhibition. !

L8#)P?)W%1/;'3#@5)1W%#"' • Visual Thinking Strategies

Visual Thinking Strategies (VTS) was developed by Abigail Housen and Philip Yenawine’s research at the Museum of Modern Art in the 1990s. It involves repeating three basic questions to visitors as a means to improve critical thinking skills and create meaning out of a work. Here is how it works: Question 1: What's going on here? Visitors will give you a variety of answers. Give them time to fully explain what they see. In some cases, they will automatically explain their observations. Other times, you may have to prompt them with the following step. Question 2: What makes you say that? This question is meant to encourage visitors to consider their observation. What is it about the subject, composition, media, color or representation that provokes their overall impression. Feel free to linger on this question for as long as it prompts a two-way dialogue. Question 3: What else can we find? This question prompts the visitor to take a second look. If a visitor is with another person, direct this question to their partner in order to foster an inclusive dialogue. Repeat Question 2: What makes you say that? With each observation, try to probe the visitor to analyze their thoughts and impressions. ! ! !

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! Validate Observations: As the guide, visitors will inevitably look for your approval. VTS supports multiple, personal interpretations of a work. Affirming diverse perspectives helps breakdown the stereotype that contemporary art is difficult to understand. Adult learners, however, will often not be satisfied unless their observations are supported by a fact. Use this validation step throughout the conversation to share information found in artist and curatorial statements or other research materials. For more information on VTS pedagogy visit: www.vtshome.org.

• Other Open-Ended Questions to Try

What is the object made from? Why do you think this medium, subject, theme, etc. was chosen? If you could touch it (sorry you can’t!), what do you think it would feel like? What sounds do you hear when you look at this work? What smells do you associate with this work? How does this work relate to the last work we saw? How did you hear about SFSU Fine Arts Gallery? What prompted you to visit the gallery today?

Icebreaker Activities Getting groups to loosen up can be difficult. These short, interactive activities jump-start conversation, facilitate a serious reading of the work and will help guides gauge the group’s level of art knowledge.

• The Whip: The group forms a circle (or line) around a work. Taking turns, each visitor says one word to describe the piece. Speed is important. The group can cycle through the line as many times as comfortable. The guide should then dig deeper into a few key themes that surfaced from the visitors’ comments.

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• The Turn Around: Visitors take a silent moment to observe a work and

absorb as much information as possible. Once 60-90 seconds have passed, visitors are asked to turn their backs to the work and based on the nature of the piece are asked, “How many figures/colors/elements/etc. did you notice?” Repeat this exercise once or twice and then transition the conversation onto the larger themes.

GALLERY ATTENDANT COORDINATOR

The Gallery is open Wednesday through Saturday, from 11am to 4 PM. There are at least two sitters for each two-hour block. Gallery attendants are students who register for Art 509 Art Production. A list of students enrolled for this course is obtainable from Mark Johnson. The instructor holds an informational meeting with Art 509 students once at the beginning of the semester. It is important (if possible) for the Gallery Attendant Coordinator to attend this meeting along with the Gallery Director to recruit 14 to 17 sitters. If the Gallery Attendant Coordinator cannot attend this initial meeting it is possible that the Gallery Director or Gallery Manager may already have put together a list of names and phone numbers of the students available for contact.

62'25#'C#-1))1)-'*$'25#'"#9#"2#/' Informally meet with the sitters, inform them of the show and what is expected of them. • Hand out the “Sitters Guidelines” and review extensively. • Give a tour of the gallery space with reading materials on the show. • Ask students to write down the time blocks they are available 10:45am – 4:15pm, Monday through Saturday. (This is because we will also schedule the gallery sitters for the Martin Wong Gallery, open Monday – Friday, 12 – 4pm). Collect names, email addresses, and phone numbers.

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L)#'+##('C#$*/#'25#'#V51C121*)' Call or email the attendants before the first week (or earlier) of work and confirm their sche dules. Post a copy of the schedule and include the sitter’s phone numbers and email addresses: • in the gallery office • at the sitter’s desk Schedule an orientation meeting for all sitters and explain the theme of the show and review gallery procedures. Place a binder at the sitter’s desk with the following information: • sitter coordinator’s phone numbers and email addresses • gallery director’s extension • art office extension • facilities maintenance contact and extension (CATS beeper) • campus police extension • location of all emergency exits • opening and closing procedures • visitor count sheets • sign-in sheet to keep track of hours they have attended. The opening week of the exhibition: Try to be there in person to go over opening and closing procedures. If this is not possible, call the sitters at the gallery to make sure things are running smoothly. The first week is when there tends to be problems sitters will not be able to work their specified hours, or will want to change days, etc. It is important to be available to monitor that sitters are actually showing up the first week. The following weeks things generally (hopefully) run much more smoothly. Be certain that th e guest book is at the reception desk. Attendance and Absences: Art 509 is a credit/no credit one-unit class. Attendants work three to four hours per week, (depending on the number of sitters), for the entire semester during the shows. It is the attendant’s responsibility to inform the Attendant Coordinator if he or she will be absent or unable to fulfill the required responsibilities. One uninformed absence puts the attendant on probation. Two uninformed absences results in N/C for the class. Attendant Duties: The “Guidelines for Gallery Sitters” has a thorough outline for attendant duties. It is

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important to schedule at least two sitters at a time so they can accomplish these responsibilities. Instructions that are specific to the show should also include: a copy of the schedule, contracts and phone numbers, the visitor’s log, opening and closing procedures, and the “Sitters Guidelines.” Attendants must familiarize themselves with the exhibition and read all materials provided for them. Not only do the attendants ensure a safe environment for the art, they also maintain a friendly and helpful atmosphere for the visitor. Visitor Log: Accurate records kept by the gallery sitters of the number of visitors to the gallery are extremely important. The records are used by the Gallery Director in reports about visitation to the gallery during the semester and as an important register of the success of the exhibition. Please see a sample visitor log on the next page. Note: When the campus is closed for holidays, etc., the gallery is also closed. Gallery attendants should be called and informed of these changes in their schedule.

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Sample Visitor Log

PLEASE SEE ADDITIONAL WORKSHEETS AND FORMS IN SECTION 6.0 OF THIS WORKBOOK.

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! The Community Outreach Coordinator is the liaison to the public at large and is responsible for contacting populations of people as target groups for potential visitors to the exhibition. Target groups emphasize heritage, gender, age, physical needs, and other categorical descriptions. Based upon the content of the exhibition and in consultation with the Gallery Director, the Community Outreach Coordinator contacts members of the community that would most likely be interested in the exhibition. Contact groups vary from associations and cultural centers, to colleges and other adult educational institutions, organizational newsletters, and businesses affiliated with the themes of the exhibition. The Community Outreach Coordinator works with Publicity, strategically planning whom to contact, avoiding replications, and communicating with various departments on campus to ensure special public access when necessary. Most target groups are those primarily within the boundaries of San Francisco, with some in North Bay, East Bay and Contra Costa Countyand down the peninsula to South Bay/San Jose. Easy access by transportation, whether public or private, is a primary factor in whether or not targeted groups can visit the exhibition. You will also become the manager of the Gallery’s Facebook page. Contact the Gallery Manager for passwords.

John Gutmann: Parallels in Focus This was an exhibit of photography, painting, and short film, celebrating the career of a photographer, teacher, film maker and artist, and the anniversary of founding of the SFSU photography department in 1946. John Gutmann was a professor at San Francisco State University and founded the photography department. The exhibition consisted of photographs of the 1930’s that focused on the lighter side of life during the Depression and its aftermath. Target audiences included students on campus, especially photography students; the more elderly members of the community were also encouraged to come and see the photos of old San Francisco and the wonders of America through the eyes of a Jewish immigrant who barely escaped Nazi Germany. The students on campus were approached directly and asked to come see the exhibit; most responded well and were handed fliers with general information about the exhibit and with the invitation to bring friends. Fliers were also posted on walls in departments generally isolated from the art world. The direct, personal touch succeeded in creating an awareness among the SFSU population of a professional gallery on campus.

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The second project was another search for senior citizen groups, German and Jewish associations, art, photography and film groups, who were asked if tours of the exhibition were of interest to their members. O u t r e a c h r e q u i r e s a h i g h l e v e l o f p a t i e n c e a n d t h e e x p e c t a t i o n t h a t p h o n e c a l l s / e m a i l s a n d f o l l o w - u p p h o n e c a l l s / e m a i l s a r e m a d e f r e q u e n t l y . M a n y a g r e e m e n t s m a y b e m a d e t h r o u g h v o i c e m a i l m e s s a g e s a s o p p o s e d t o s p e a k i n g d i r e c t l y t o c o n t a c t s . P e r s e v e r a n c e i s a m u s t , a s i s a s o m e w h a t e x t r o v e r t e d a n d f r i e n d l y p e r s o n a l i t y .'

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(%<%$,8.%/+!*,,&()/#+,&! The Development Coordinator works with the Gallery Director on fundraising projects for gallery events and exhibitions. Development involves researching and writing grant request, collecting information for grant reporting, and serving as liaison for the instructor and campus fund raisers. Timelines for grant requests vary, but most of the work focuses on projects and exhibitions for shows in the upcoming semesters rather than the current one. At the beginning of the semester, consult with the Gallery Director which organizations to contact for funding the upcoming exhibitions. Websites are consulted for guidelines; if nothing is available on-line donors are contacted for grant guidelines. ?$'25#/#'./#')*'+/122#)'-%1,#&1)#"^'/#W%#"2T! • deadlines for requests or proposals • any limits on the type of organization or type of programs the donor sponsors • exact name and address to send the proposal • description of types of programs the organization sponsors and the amounts generally donated Carefully record all grant deadlines and work with the Gallery Director to construct a timeline Allow plenty of time for review of the grant request/proposal by both the Gallery Director and the SFSU Campus fund raising department.

Prep work for writing a grant proposal includes reviewing several examples of past grant requests; much of the verbiage is useful. A prime source for information about grants is:

The Foundation Center in downtown San Francisco, http://foundationcenter.org/sanfrancisco/ 312 Sutter, above Grant;

(415) 397-0902 with a second branch in Preservation Park near downtown Oakland. The staff is very helpful and the organization offers workshops on how to efficiently use the facilities.

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Gathers information from those involved with curatorial research, label production, art photo graphy, bibliography, etc. Uses layout program (such as PageMaker) to compile and design catalog. Is also responsible for coordinating catalog production with the printers. This position works closely with the graphic designer, the didactics team, and the photography team to coordinate all of their work into one concise document. Either blurb.com or lulu.com can be used for on-line publishing. Each site has their own specifications. Make sure to print one copy first, and use this as a hard proof.

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The reception serves two purposes. First, it celebrates the achievements of those involved in bringing the exhibition to fruition. Second, it also establishes the opening of a show to the public. A well-organized reception attracts many people, who in turn encourage others to see the exhibition.

E&.))1)-! The Reception Coordinator should start planning at the latest one month in advance at the latest. During this time you should: decide the theme, solicit donations, and provide adequate advance notice to contributing restaurants.

N O T E : Some potential donors require 6-8weeks for donations.

4*/(1)-'+125'.'C%,-#2! If there is a reserve of money for the reception, consider the following options: • Hire a caterer. Though this is the least cost effective: the caterer delivers, sets up and occasionally serves and cleans up. Clearly discuss the amount and quality of the food they can provide, assuring that it is within the budget. • Many restaurants and delis will put together party platters that can make the affair look catered, some include: La Mediterranee, The 6th Avenue Cheese Shop, Noah’s Bagels, Safe way. Chinese and Mexican cuisine is generally inexpensive and most restaurants will fill aluminum serving dishes with meats, rice, beans, vegetables, noodles, etc.

4125*%2'.'C%,-#2! The idea of staging a reception without funds may seem glum. Consider it a challenge! There are two possibilities: D o n a t i o n s : Solicit contributions by letter for food and beverages from restaurants and stores. It is important to write the letter specifically to someone (see example letter) and to follow up a week later with a phone call to that person. If you are short on time it is better to fax your letter. Be sure to mention that the gallery will thank them on graphics at the event itself and if possible, also in the catalog. Many restaurants willingly make donations, as it is a good advertisement. In the past we have received donations from Trader Joes, Roti Restaurant, Safeway, Peet’s, Krispy Kreme, and Tower Market. P o t l u c k . Do it yourself. Have classmates help with shopping, preparation, and displaying food. Sign up classmates to bring different items. Restrict Potlucks to finger food items and for student shows.

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Check in the cabinets for paper goods left over from previous receptions. Any student with a Costco / Price Club card is a big help. Be sure to always retain your receipts for reimbursements and discuss purchases with the Gallery Director (food reimbursements will need to be handled separately from other reimbursements). The shopping should be done the day of the reception. Make appropriate arrangements should there be any perishables that require refrigeration. Allow at least two hours for shopping, plus transportation time. If preparations are to be done in the gallery shop, count on delivering the food at least two and a half hours prior to the opening. The persons in charge of unloading and preparing should be prepared and ready. Please see a sample donation request form on the following page…

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