Sharing some experience in mounting a solo photo exhibition

<p>My recent experience mounting a small exhibition may be of use to others. Various community spaces are available for these events and one does not always have to approach a gallery. In my case, a space was offered a year ago by a local genealogical and historical society that possessed a heritage building (former presbytery) and public park that welcomed a good number of visitors, tourists and locals during the summer months.</p>

<p>In this case, as often occurs, the choice of theme was left to the photographer. I chose "Spirit of place (Genius loci)", as I wanted to capture the sense and emotion a place can have for residents and visitors. The host agreed to sponsor the cost of producing posters, invitations and banners for texts on each of the five sub-themes and introduction.</p>

<p>Originally conceived for about 25 framed images, the scope of the theme led to twice that many final chosen images. What to do about framing this number of photographs, varying from small (8x12 inches) to medium sizes (12x18), with a few larger images (15 x 20 and 22 x 30), and some smaller ones being combined in diptych or triptych manner?</p>

<p>Clearly, available wood frames of $35 or $45 and the additional matte cutouts would be a heavy cost. Visiting a local art shop I discovered the presence of birch supports for oil or acrylic painting. The front of these supports comprised thin birch plywood covering, whereas the rear was formed of a frame with four sides one or one and one-half inches in thickness and similar widths of the sections. As some supports had imperfections in the wood frame elements, only the better finished ones were acquired for reversal and adaptation as frames (about 1 in 2 ot 1 in 3 of the supports in the art shop).</p>

<p>By reversing the supports I had a frame within which I could mount a photograph of lesser dimensions. The frames mostly varied in price from $7 to $14, which came within my budget. By finishing the photos with glossy surface, the lack of a glass front was accommodated and the prints were mounted on slightly smaller foam core and centered and glued within the makeshift frame. The finishing of the 50 plus photos (Fujicolor Crystal Archive, Canon inkjet and a handful of darkroom prints) and the cost of their frames and mounting materials came close to one thousand dollars in cost, or less than $20 per print.</p>

<p>The appearance of some of the frames can be seen in the accompanying photo at the exhibition mounting, which shows about a third of the overall exhibition. In some cases, small hardware store pre-drilled metal plates allowed a second picture to be attached to one above it, via small screws attached to the back of the two frames, where a relationship between the two images was present. The second image is the invitation card designed by the host organization.</p>

<p>To some degree this is exhibition on a shoestring, but the result was satisfactory and I hope this experience may help others who envisage mounting a similar exhibition in future without breaking the bank.</p>

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<p>Addendum</p><div></div>

<p>Well Arthur, I cannot read Canadian--but the display and thinking behind it is brilliant! :-)</p>

<p>Thank you for posting this, as it is an abject lesson in 'thinking outside of the trendy box..." Many of us struggle to market and position for gallery space and a showing--yet you have shown us that with effort and an affordable investment one can mount a substantial show on ones own terms. That is nothing less than admirable and a goal worthy of any productive photographer's effort.</p>

<p>It is also a rebuke to the 'conventional darling' route of being seen--and discouraged in the process. I honestly hope that the event went well for you--just the lead up to it is more than many very worthy artists will see trying things the old way...</p>

<p>I too ran into sticker shock at the cost of mounting and framing photographs for an exhibition. I had 30 images that I was going to print 16X20 size but the cost of just astronomical. So I decided to print 11X14 and while cheaper still beyond my means. I had to go with slipping the prints in archival sleeves and attaching those to 16X20 window mats and then tacking them to the walls. I knew it wasn't the best way to present my work, but now when I think about it I just cringe. I'm glad I decided not to send out a bunch of invites to the art crowd here in LA. Even at $20 a print I would be spending $600. So these days unless someone else is footing the bill, I won't do a solo exhibit. I eventually turned down a 2nd offer after the abysmal one I described above. Too expensive and for what? It's not like my pictures are sure sellers or anything like that. I'm glad it worked out for you Arthur, it looks like a nice exhibit. </p>

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<p>The finishing of the 50 plus photos (Fujicolor Crystal Archive, Canon inkjet and a handful of darkroom prints) and the cost of their frames and mounting materials came close to one thousand dollars in cost, or less than $20 per print.</p>

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<p>Even one thousand dollars is more than I could afford on a time limited public showing of my work. </p>

<p>Was the decision for 50 photos based on trying to fill a space with content or to more convey the "The Spirit Of Place" as you called it?</p>

<p>You couldn't convey this with fewer photos? And did you sell any of the works?</p>

<p>I really appreciate you posting your experience on this, Arthur. It was very helpful and informative. I was actually considering doing the same in my local town but thought it would just cost too much and be more of a hassle than it was worth.</p>

<p>Patrick and Marc, thank you for your comments on exhibiting and also your experience. The opening attracted about 50 persons but the test wil be the interest that may be shown by visitors to the exhibition during the summer. Because the prints, framed or not (an option, together with optional sizes and prices) cannot leave the exhibition before its closing on September 5th, I simply leave my card, detailed list of works, address coordinates and ordering information at the showroom. If I sell only 5 to 10 of the 50 works I will break even. A regular Toronto artist at my former seasonal contemporary art gallery once told me, "it is not important to sell everything at one site or at one time, my works will eventualy sell" (she exhibits at three galleries, but most of us have other various opportunities like arts and craft exhibitions, festivals, harvest time or Christmas markets, and other venues, in which we can deliver some of our works to interested clients).</p>

<p>A work which touches someone is often reward enough. Breaking even in costs at the end of or after an exhibition is good, it allows us a little confidence and resources to continue with our photography projects, the pleasure of which is often as much in the doing as in finding those who appreciate the visual content enough to hang the photos in their homes.</p>

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<p>Tim, the showing extends from the opening on June 23rd to September 5th. Judging from the experience of the host society at their site, about 4000 to 5000 visitors pass through their doors each summer, so there is some chance that a few may be sufficiently touched by some photos to order a framed or unframed print.</p>

<p>The original idea of spirit of place and its significance locally was well researched in the literature and by spending time in the region over several months. What I thought I could convey with 20 or 25 images soon required double that amount. It was hard to combine all chosen aspects of spirit of place into one small exhibition, although I didn't seek to do that and each person perceives spirit of place somewhat differently. However, my five sub-themes included "Collective memory", "Material identities", An architecture of character", "Visualizing the non-material" and "The landscape and human expression". It is probably impossible to cover all of that with 50 (actually 55 or 56, including some multiple photo diptychs and triptychs) images and I had to reject some favorite ones, as they did not fit well with their companions, or repeated the same sense or message.</p>

<p>Visualizing and photographing the immaterial was one difficulty, but it became a good partner of the other sub themes. The Belgian philosopher Herman Parret (teaching in America) has spoken of “the collective and universal existential inclination of man to prolong his cultures, relics, monuments, vestiges and archives, all the traces and indices of the past that procure for our life a horizon of history and a depth to his origin.” The exhibition texts include that observation as well as others of Henry David Thoreau, of a noted Canadian ethnologist of the 1920s and of some urban planners / architects. I also tried to indicate in words how the place inspired me and what I photographed. I would be happy to send a copy of the six texts to anyone interested, although the reason for this post was mainly to discuss the ways in which one might diminish the often important exhibition costs.</p>

<p>One thousand dollars may seem an impediment, but if you put a value of, say, about 75 to 200 dollars on your framed or unframed images, not that many sales are required to break even. Also, an exhibition should normally create some news in the community, which often leads to later requests.<br>

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<p>Good luck Arthur! 50 seems like a lot of pics to display, I must say.</p>

<p>Thank you, Robin. I agree that 50 is a lot (the photo shows only 1/3rd of the exhibition space), but the subject is many faceted and I think required it. It is divided into the 5 independent yet overlapping sub themes that I mentioned to Tim, each with 8 to 12 images. I had to leave a lot out that would have been quite interesting to include. Funny how the time and effort of preparing does not increase linearly with the number of images. A large number and their correlation often simplifies the ability to treat the subject. While I have had some good critiques to date and a couple of very appreciative ones, I realize that some aspects cry out for more extended research and sometimes deeper (in message, content or meaning) imagery.</p>

<p>It is an unended (unending?) project and one I hope to continue to develop. The theme relates to other passions and volunteer work in our community and is thus easy to combine with them. At the same time, I seek alternative more concentrated subject matter for possible series of photographs that can be treated with 10 or 12 images. In such cases, less can even be more.</p>

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<p>Congratulations, Arthur, on getting your exhibition up and creatively framed. <br>

I, too, have had solo shows here in Bangkok. Smaller number of pictures, though, usually less than 20 - 24. Framing got to be an expense, so I devised reusable frames. Plexiglass mounts were used for one exhibition, which did not even require a matting job. Just put the print between the plexiglass sheets, cut to the same size as the prints, clip, and mount on the wall. When the exhibition was over, took the prints from the plexiglass mounts, and put them away. I can usually sell a few to help defer costs, but making money was never the object. It can be a pleasant experience, seeing your photos up where others can see them, as well. You sometimes get interesting feedback or meet new people who visit your exhibition. But, what to do with framed prints once the exhibitions are over? This became a problem: storage. In any event, it was worth when I did it but I haven't been doing it much since. <br>

WIsh I could see your exhibition.<br>

Good luck,<br>

CF</p>

<p>That is a really good solution, Charles, to use plexiglass sheets (or perhaps even glass sheets, although heavier?) to hold and present your prints for exhibition. Framing is always an issue in any case, apart from the cost, as it (and the matting color and texture) adds a secondary visual element to the photo, sometimes effective but not always. The significant advantage is the ability to separate the print for easier storage.</p>

<p>I use acid free plastic sleeves (for 16 x 20 inch prints) to house one or more prints of the same or smaller sizes for short term or longer storage. In the present case, the foamcore mounted prints are mounted to the wood frames using double sided mounting tape and can be separated from the wood frames if desired (as member of a local artist group, there may even be the opportunity to sell the supports at reduced price to others as wood canvasses) but clean detachment may not be easy to achieve in all cases and the prints might best be left mounted for future viewing and possible sales.</p>

<p>Admittedly, storage space is a problem, particularly the maintenance of an atmosphere that does not degrade the image. Next year I hope to re-open the seasonal art gallery in an old coach shed and I will gradually mix in unsold framed prints with the work of invited artists.</p>

<p>Your solution of clear membrane sandwiching of prints is probably the best if conservation of the print is desired after exhibition. I will end up with a good number of framed prints that will not be sold and which have a more important problem of storage.</p>

<p>A bit of legwork might find some in cafés or restaurants or other venues that seek visually interesting backdrops, although perhaps seeking a further integrated exhibition elsewhere of this work might also be possible.</p>

<p>Another way to look at this is what Charles has stated as the opportunity to meet or interact with viewers. This and not print sales was the principal consideration in my approach to this project and exhibition. An important part of it deals with heritage farm and other architecture and the problem of its conservation, a challenge that often falls on deaf ears, but which can be possibly energized by interactions with viewers.</p>

<p>Often we will spend much more than a thousand dollars on a vacation or on a small or not so small luxury that also tax our available revenue and have to be justified. Perhaps after the remaining two months I will find that the cost of this "shoestring" exhibition is not really too high. I expect that I will do it again, perhaps a bit differently, as it allows the pleasure of an intentional photo project and all that entails in the research of theme and capture of images.</p>

<p>It may be a question of apples and oranges, but the appearance of semi-matte black and white darkroom prints on good paper compared to the glossy RA-4 processed paper, without the interaction of a glass overlay, was a treat. The Fujicolor glossy crystal archive paper provided good tonality and contrast for most images, but there was something very appealing in the texture of the black and white images that made me want to continue making darkroom prints. It is hard to do for all photo work, though, once one has been spoiled by the facility of most digital image capture and treatment.</p>