For whom do we assemble collections and archive them?

For whom do we assemble collections??

Exhibition Catalogues: A Guide

From Words, Words, Words - Writing Exhibition Catalogues 

Noosa Regional Gallery 24 November 2000

There are no set rules for the production or writing of exhibition catalogues. 

Catalogues and the writing that goes into them perhaps offer the greatest artistic freedom. 

The writing of a catalogue essay simply requires an accord between the writer/curator and the artist(s) / artifacts. 

The type of catalogue produced will usually depend on the amount of funding the artist and gallery have, or the significance of the exhibition.

Why do we produce catalogues?

1. For the artist/writer– a permanent record of their exhibition
2. For the gallery– for the archives
3. For the funding body–a form of acquittal and a record for the
   archives
4. Publicity – to inform the audience, the media or other
   galleries of the artist’s activities or progress
5. Educational – to provide the audience with information about
   the exhibition, and for students, project information.
6. To provide a context for group shows which outlines the
   curatorial thesis

Who produces catalogues?

1. Most galleries/museums will produce some form of catalogue for most shows
2. Artists without funding may produce catalogues for themselves
3. Businesses produce catalogues for trade exhibitions and advertising purposes

What is required of the writer?

Again there are no set rules here and the way in which a catalogue essay is written is a matter for negotiation between artist, writer and gallery.

However, it is desirable that the writer: 
1. Is skilled in the art of writing

2. Knows the work of the artist/ objects within the exhibition  the work for an exhibition is often not completed at the time of writing the essay
3. Is able to see the artifacts within an art/historical context
4. Has flexibility and a broad general knowledge. Artists draw upon an enormous range of ideas, so the writer may be required to write about anything from sex to science, from psychology to politics. The writer is providing a service to the artist and the gallery and therefore should make some attempt to accommodate their specific needs.
5. Is able to meet deadlines – there are no extensions in the real world. If the essay isn’t completed on time, the catalogue will not be produced in time for the exhibition. This is frustrating and disappointing for everyone involved.

The Stedelijk Museum, Amsterdam   

J O U R N A L

RE: Stedelijk Museum:: 
The Model Reader (above)
In 1979, Umberto Eco published The Role of the Reader(Lector in fabula), which gathered the analysis he had conducted in the previous years on audience participation in the enjoyment of narrative literature. 

1. According to the Italian semiologist, a text always implies a set of rules as well as undefined empty areas, which are set up by the producer and activated by the receiver. 

2. As a matter of fact, according to Eco, any text has inscribed in it, since its very conception by the author, an interpretative mechanism that makes it incomplete. Every text therefore always implies—or at least hopes for—a subject able to decode it. 

3. Breaking down the act of textual communication as an act based on shared codes and conventions—some of which are more stable, like languages; others are less codified, such as a set of references or contextual readings—between producer and receiver, Eco delineates the theoretical character of a Model Reader, for which every communication produces postulates and proposes more or less knowingly the following: 4. “To organize a text the author relies upon a series of codes that assign given contents to the expression he uses. 

To make his text communicable, the author has to assume that the ensemble of codes he relies upon is the same as that shared by his possible reader. The author has thus to foresee a model of the possible reader (Model Reader), supposedly able to deal interpretatively with the expressions, in the same way as the author deals generatively with them.”

YOUR exhibition Catalogue contains the following parts:

PART ONE::

Curatorial Rationale
Details are required!
No more than 500 words!
The Rationale is much shorter than the overall Curatorial Essay and appears prior to the essay.

Introduce yourself, the exhibition and the rationale for bringing together to artifacts/works you have. 

PART TWO  :: Curatorial Essay
Details are required of each object!

No more than 800 words!

1. Explain the BIG idea/concept - the scope of the exhibition.  This part of the essay explains the overarching concepts that connects all the works together. 

2.  Sometimes in gallery spaces there is a small brochure that presents the curatorial rationale essay, or it may be exhibited as wall text.
  3. Explain specifics of why each item has been included.  Include images embedded within your text for illustration.

4. Note any information about one artifact/work that is not explicitly implied by the collection that you want your audience to know about. 

5. When installing your exhibition, think of one work as the introductory work to your exhibition where, perhaps, the wall text or give-away brochures are installed.  

6. Depending on the type of exhibition, you may include a map for location purposes or photographs for historical information.


PART THREE ::
Informative Wall Text 
No more than 250 words
It is a brief summary of your essay.
May include a map or historical photographs

PART FOUR ::
Informative Wall Labels for each item.  Include an image of your map if applicable. 




PART FIVE ::
Include a Gallery Aerial Schematic and Gallery Checklist

PART SIX ::
FOLLOWED BY:
Complete Database with images and #001 -- #007 (minimum)

Include Accession contracts for three objects

PART SEVEN ::
Dedication page

PART EIGHT ::
Bibliography

PART NINE ::
Press Release

PART TEN ::
Postcard of the exhibition
Include both front and back

PART ELEVEN > optional:: Gift Shop with www. for online purchases

PART TWELVE ::
Location and Brand of Museum/Gallery
Director
Full Address
Phone Number
web site
Direct link (fictitious) to the Book  Gallery shop, for online purchases
Other

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According to a publication written by David Broker, Deputy Director, Institute of Modern Art, Queensland Museum and Galleries in Australia

Writer’s Fees

As recommended by the Australia Council, $200 per thousand words in 2000.

Designer’s Fees

Approximately $50 per hour.

Types of catalogue

The Blue Ribbon Catalogue $20, 000 – 50, 000 – produced by galleries for Biennales or international touring shows. 

These catalogues may have up to five essays describing different elements of the exhibition. 

They will be funded and required by arts funding bodies such as Arts Queensland, the Australia Council, private enterprise or other government departments such as the Department of Foreign Affairs and trade. 

They will be designed by a professional designer, have very high quality colour reproductions and authoritative essays of 2 – 3,000 words. 

These catalogues will cost $25 to $50 to buy and generally will sell as souvenirs, coffee table books or research tools.

The print run is usually between 5, 000 – 10 ,000

The Glamour Catalogue $5, 000 – 20, 000 – produced for national and state touring shows and/or exhibitions of some significance. 

These are also funded by the type of funding organizations mentioned above and will also often be obligatory. 

There will be one to three authoritative essays of 1 – 2, 000 words, good quality colour and black and white reproductions, and will be designed by a professional designer. 

They will cost approx. $10 – $20 and also be used as a souvenir or for research purposes. These catalogues generally do not sell well.

The print run – 1, 000 – 2, 000

 The Brochure $800 – $2, 000 – produced by artists and galleries for the reasons listed above, but generally not obligatory. 

These serve as a modest record of an exhibition and are used largely for publicity and archival purposes. 

They are one colour, have satisfactory reproductions and an essay which “does the job”. Designed in-house or by people with a limited knowledge of desktop publishing software. These catalogues will often be given away or sold for a nominal price of $2 – $5 because they also do tend not tend to sell well.  Often times, they are take-aways by gallery guests.

The print run – 200 – 500

Self Published Books - a great way to create a published looking catalogue that the print run is only one, followed by others as needed. 

Go to this link for more information:

Blurb.com (I strongly recommend)
Lulu.com > www.lulu.com
Diggy Pod > www.diggypod.com
Mind Stir Media > www.mindstirmedia.com
48 Hour Books > www.48hrbooks.com
Out Skirts Press > www.outskirtspress.com
Shutterfly
Snapfish

The Home-Made Catalogue or Artists Book $0 – $500 – produced by the artist without or with minimal funding. 

These catalogues may be photocopied or hand-made. 

These catalogues provide the ultimate artistic freedom because they are privately produced and the artist and gallery are not required to please anyone in particular. 

Again they are given away or sold for a nominal fee although the artist’s book may be sold for considerably more, as a work of art.

The print run – 1 – 200

Trouble-shooting/common problems

1. Proofing/typos
2. Misspelling of artists’ names, especially relevant in the case of
   Indigenous artists or artists from other cultures. This looks
   very bad and reflects poorly upon the writer and the gallery.
3. Obscure or inaccessible writing
4. Inability to meet deadlines
5. Sponsors logos–being left off thcatalogue
6. Incorrect titles
7. Poor or incorrect reproductions. 
8. Forgetting to thank everyone involved in the production of the
   exhibition
9. Poorly designed
10. Over pricing