The Makings of a 'Great' Exhibition

Sarah

What makes an exhibition memorable?  Is it the quality of the artwork? Is it the content?  Is it because of things that are abhorrently wrong?  Like any artist seeking to improve their chances of sale, I take note of what others do.  It is always a pleasure when I see the result of planning, care, and ‘going the extra yard’ create something memorable that enhances, rather than detracts from, the artwork.

One of my character traits is that I always like to observe and learn.  I stop, look, ask questions, and analyse.  I review, reflect, and consider how many ways what I have seen can be applied to my art in different ways.  I am content that artists of note continually strive to improve their processes, though I am dismayed that quite a few modern artists seem to think the creative process stops the minute they sign their name.  What they do not realise is that this is noticed by galleries, art judges, and the public.  Conversely, it is also noticed and appreciated when someone does some exceptionally well, even if it is a feeling of security by the viewing public that nothing is wrong.

Recently, when submitting my solo piece for a joint exhibition, I had an opportunity to not only speak to the technicians responsible for installing an exhibition, but also to be introduced to Sarah Mitchell Munro who was installing her “Through the Window” exhibition at Artspost, Hamilton.  As she was busy I left her to the daunting task of organising everything, though did notice her ‘hands on’ approach to the affair, and attention to detail – hallmarks of someone who does not leave things to chance.  I was therefore curious to see the exhibit after installation was complete.

Arriving early, I had an opportunity to preview the exhibit without the crowds.  While I have not attended as many exhibitions as some, I was able to both see and appreciate the results of Sarah’s attention.  For me it stood out, and above, the other exhibitions I have attended and has become my current personal benchmark for a ‘great’ rather than ‘good’ exhibition. 

If I were to attempt to quantify those qualities that made the exhibition stand out for me they were:

  • exhibiting pieces of more than one size; as there was a large room to fill, having pieces all the same size could have made the whole exhibit look like an unimaginative museum exhibit (reminiscent of school trips to the museum).  Breaking it up into more than one size lifted the exhibition and gave it more life;
  • The artwork was limited to two sizes; this worked extremely well in unifying the theme and commonality of the works.  A wide disjointed array of sizes would have detracted from the common theme of her exhibition (though could be used to effect in another exhibition);
  • the proportionality of sizes; the smaller works of around 40 x 50cm were interspersed between very large pieces of around 120x 180cm.  This accentuated the difference in sizes, and added significant impact to the large pieces (the artistic equivalent of an exclamation mark!).
  • the large pieces had a commonality of style and theme to tie them together, which has slightly different to the smaller pieces;
  • the large pieces were strategically placed for maximum impact as you entered the gallery chamber from either of the two entrances
  • the large pieces were separated by smaller pieces, which almost divided the exhibit into a number of logical ‘chapters’ - were it to be likened to a book;
  • The pieces were organised to follow a sequence of events as one travelled clockwise from the beginning.  This added another level of dimensionality to the exhibition – it became a story rather than a collection of paintings;
  • Each piece was expertly finished (unframed and the edges of the canvas stretched over the frame were impeccably finished, and uniform in white);
  • Sarah hands on approach has ensured all here works were positioned and grouped superbly on the wall – the highest compliment was that nothing noticeably wrong, something which is often hard to achieve.

In my eyes, Sarah has invested the time to ensure her work is presented immaculately and to show it in the best light and at the highest value.  She has, like the entire marketing profession, realised that the job is not over when the last brush-stroke is applied to a painting or stitch applied to a garment.   She also obviously realises that your work is not going to sell, nor attain its full value, if presented poorly.  In addition, while Sarah will not be the only artist who realises all of this, it is worthwhile visiting Sarah’s exhibition – even if not for her amazing artwork, but to see what should be the minimal standard for an exhibition by anyone.

I would like to thank Sarah for allowing me to write this blog.  And as I write this I am reminded of standing next to one Auckland gallery owner, both of us shaking our heads at a piece of artwork dropped off for sale – paint from the front slopping around the edges of the edges of the canvas (which were supposed to be white, but they hadn’t bothered to touch up), and on a frame which was as straight as a dog’s hind leg – the antithesis of the attention to detail, and quality control, that every professional artist should strive to continually achieve.

Sarah’s website: http://sarahmitchellmunro.com

Through The Window: http://www.waikatomuseum.co.nz/page/pageid/2145861571