Saturday, April 15, 2017

My Contributions For: MSUB Student Juried Exhibition 2017


My Contributions:

·         Thursday 3/30/17: De-Install Neil Chaput’s Chasing Time: One Room School Houses exhibition; packaging art work, packing crate for MAGDA

·         Friday 3/31/17: Continuing with De-Install Maintenance, Painting Walls, created an artist’s checklist, Accepted Art work from student Artists and verified on checklist, Complied/Organized/Alphabetized an Artist Exhibition List

·         Monday 4/3/17: Created vinyl signage (2) one with names, one with show title, finished exhibition list

·         Wednesday 4/5/17: Helped begin to Repair walls with putty again, Installed Vinyl Signs

·         Thursday 4/6/17: Fixed Lighting Issues, Vacuum Space

·         Tuesday 4/11/17: Created Binder Cover’s Front & Back, Created/Organized Binder: Exhibition List, Gazette Article-Reformatted for Binder, Created an Official Press Release; Printed and Stapled Press Release for visitors and students, displayed on pedestal outside of gallery; Cleaned up office 😊

·         Tuesday 4/18/17: Plan to document the exhibition with photographs, maybe mop tile floor

·         Thursday 4/20/17: Vacuum Gallery, Prep for Show, replace ceiling tiles? work/attend reception

·         Also, I hope to help de-install during Finals week if applicable

      The biggest challenge for me was working with a group. I feel everyone had their own jobs to do and if an opportunity arose to help somewhere else or help someone else complete a task, I was constantly told no that it wasn’t ‘their job’ or ‘responsibility’ or ‘part of their group’. It is frustrating to have many tasks going on all at once and then you are left feeling like you have more than anyone else to do. I helped with what I knew and could do and I picked up certain tasks that were not addressed. Overcoming this challenge is just like any other job, you learn to deal with it and still conduct yourself with a professional disposition. I was part of the de-install and install team and I wasn’t able to help with the actual install of art work as much because I was helping with creating signage and the exhibition list. I did install the signage once it was printed and I helped with many repairs in the gallery space.


      If I were to help with the Student Juried Show in the future I would help create a written definite organized plan which people could refer to for jobs and what’s needed to be done, a check in/out sheet, a daily task list. It would be vital to go over with the install team how to properly use certain materials while installing and how to find the center line (IT ISN’T Easy At FIRST). I would also make sure groups were communicating amongst each other because in the end we are all working towards the same goal: THE EXHIBITION. Some groups had more work to do than others which means other groups could lend a helping hand where others may fall short. If we are a team lets be there for one another, it takes a team to run a team. 


Friday, March 17, 2017

Toucan Gallery

Toucan Gallery – Response http://www.toucanarts.com/

Functional Considerations:
When traveling, downtown parking can be a game, however I appreciate the eye-catching hanging window sign I could spot the gallery from the street. The traffic flow inside the gallery allows room for the viewer to enter and feel enough room to move around in such a small space. The organization of the artwork on display does not interfere with the traffic exploration. The space is organized with the gallery space throughout the front half of the space, then counter space divides the gallery and the frame shop, downstairs there is a space for art classes and then the rest for storage and packaging artwork to mail. The gallery space is open because of the beautiful high ceiling and a sky light in the middle of the space, (my favorite). The downstairs space for art classes seems small because of the architecture construction and ‘low’ ceiling. The building has an interesting history that also makes the gallery interesting.

Formal Considerations:
The Toucan gallery is a non-traditional gallery and does not utilize labels as much. They are working to create an environment that displays artwork to sell art work. The artworks are provided with prices and customers may ask about the artist and the works created for more information. The 3-D artworks are on display on tables and furniture at varying heights while the 2-D works are arranged on the walls which have shelf ledges that allow easy access and re-design to filter works through the space. The organization of the gallery reminds me more of merchandising a store, making the space appeal to the customer and draw them in and entice them to make a purchase. There are many interesting visual displays within the gallery. They utilize a tree decorated with lights to hang scarves from, and there are no chords extruding out to trip the viewer. The furniture used to display the 3-D works are beautiful and add to the shop aesthetic. Every artwork exists within the space together allowing the viewer to move throughout the space and stop where interest intrigues. The gallery’s style mimics that of the shops found downtown, like an antique shop, you must explore to find a treasure.

Conceptual Considerations:
“The gallery provides a continually changing aesthetic experience as new artists are regularly brought into the mix, and with Toucan dedicated to its mission of promoting art for everyone, the price points remain reasonable, the art attainable.” -Toucan Gallery
The gallery space is created with fluidity allowing the viewer to explore at any point within the space. This is effective because it allows the artwork to have an opportunity to be bought like in a shop setting. The artwork feels approachable and like the viewer can touch and explore it.

Visitor Observations:
Visitors under the age of 25 would like the fluidity of the space and the ability to explore, however, they may not like how things aren’t displayed with artist information. The gallery provides not only a gallery space, but a frame shop, and art classes which is a highlight for viewers over the age of 25. A least popular aspect for viewers over the age of 25 could be that they may not feel like they are in a gallery for art but a shop for art atmosphere. The space can be shared in the sense of shopping and exploring the artworks but the gallery lacks the experience. I feel that the space allows the viewer to connect with art and then experience the art at home if they decide to make a purchase. If I could change one thing about the gallery space it would be to improve the art classroom area making it more interesting and obtainable because it is a highlight that can appeal to a varying audience range.  



Friday, March 3, 2017

Agreement Letter, Exhibition Contract, Exhibition Loan Agreement, Schedule(In Loan agreement)

MSUB
Montana State University Billings
1500 University Drive
Billings, MT 59101-0245
Northcutt Steele Gallery
Leanne Gilbertson, Gallery Director
Liberal Arts Building Rm. 100
406-657-2903

Dear Ms. Bright:

Thank you for agreeing to exhibit your work at the Northcutt Steele Gallery. 
Below is the agreement for your visit. Also included is a contract for your agreement. Please read these over carefully and contact me should you have any questions or concerns. 
If all is on order, please sign and date these and return them to me no later than June 1, 2017. If something needs to be revised please contact me no later than May 1, 2017 so I may plan accordingly.

Also, our gallery has three small glass cases as well as one large glass case that are within the entrance of the gallery space. If you have any ideas for displaying additional works or something of relevance to the exhibition, please let me know your thoughts. We try our best to utilize these cases in a cohesive manner with the exhibition.

Thank you,
Leanne 
Artist Agreement
§  Artist Name: Deborah Bright
§  Address: Pratt Institute, Dept. of Fine Art
200 Willoughby Avenue
Brooklyn, NY 11205
§  Phone: (401) 345-6734
§  E-mail: dbrightnyc@gmail.com
§  Delivery Date: August 29, 2017 (to be received by gallery no later than)
§  Return Date: October 26, 2017 (to be returned to the artist no later than)
§  Exhibition Date: September 6, 2017 through October 19, 2017
§  Reception Date: September 7, 2017

Insurance: Work exhibited at the Northcutt Steele Gallery will be insured for the wholesale value against theft, loss, or damage incurred while on the Montana State University Billings campus. This does not include damage due to faulty craftsmanship or damage incurred before receipt of artworks. Montana State University Billings is responsible for damage incurred during return shipping if an insured bonded carrier such as UPS, Fed Ex or a professional art handler ships the work.

Inventory: The gallery must receive a signed insurance/inventory list detailing title, description (size, media), date and value of the work to be exhibited, prior to the artist shipping of the artwork.

Shipping: The artist will provide shipping of the work to the gallery and the gallery will make arrangements for return of work as mutually agreed upon.

Sales: A twenty-five percent (25%) commission fee will be retained from all works sold during the exhibition.

Compensation:
1.      The artist will be paid an honorarium of $650 for two class presentations and a public conversation with an artist reception immediately following on September 7, 2017.
2.      The artist will receive a consulting fee of $200 for her work over the course of three days (approx. 3 hours/day).
3.      The artist shall perform these services and the University shall not pay any assistants or substitutes to the artist in their performance under this agreement.
4.      The payment for these services shall be made within 30 days of completion of services, and upon artist’s submission of W-9 if a US taxpayer.

Lodging: Montana State University Billings Northcutt Steele Gallery shall book and pay for three nights (9/7, 9/8, 9/9) lodging in a hotel of our choice. 

Meals: The artist will not be provided with meals during the visit.

Artist’s work may be photographed during the exhibition for publicity purposes. Work may also be photographed by amateur and student photographers for educational use.

ARTIST                                                          
Signature: ________________________      
Name: _Deborah Bright_____________       
Title: _Manifest Series__________                 
Date: _________________________           
MONTANA STATE UNIVERSITY BILLINGS
Signature: ____________________________
Name: _Leanne Gilbertson_______________
Title: _Northcutt Steele Gallery Director____
Date: _______________________________

Exhibition Contract

AGREEMENT made as of the 1st day of June, 2017 between Deborah Bright (hereinafter referred to as the "Artist"), and Northcutt Steele Gallery, Montana State University Billings (hereinafter referred to as the "Exhibitor").

The AGREEMENT as is follows:

1. Creation and Title. The Artist hereby warrants that the Artist created and possesses unencumbered title to the works of art listed and described on the attached Gallery Listing of Artworks (to be turned in six weeks prior to the opening of the show) and has the right to loan these works for purpose of the exhibition Manifest Series.

2. Duration of Loan, Manner of Exhibition, and FeeThe Artist hereby agrees to loan to the Exhibitor the works listed on the Gallery Schedule beginning August 29, 2017 and ending October 26, 2017. The exhibitor agrees to exhibit these works for no less than 29 days during this time period as part of the exhibition titled: Manifest Series. Northcutt Steele Gallery hours are 8am-4pm, Monday through Friday. These works shall be exhibited in a solo exhibition.

3. Delivery, Condition, and Care. The Artist shall be responsible for arranging to have the works listed on the Gallery Schedule shipped to the Exhibitor. All costs of delivery (including transportation and insurance) to the Exhibitor shall be paid by the Artist. The Gallery Director and Gallery Professional Practices class will be receiving and ensuring proper handling, storage, and installation of the work. The Exhibitor agrees to transmit a written report to the Artist within five working days of the delivery of the works, specifying their condition and whether they appear in any way in need of repair. Further, the Exhibitor agrees to use the same standard of care for the works as it uses for comparable works in its own collection. The Exhibitor shall return the works by the date specified in Paragraph 2 for the conclusion of the loan. The Exhibitor shall pay for the costs of delivery (including transportation and insurance) of the works back to Artist.

4. Loss or Damage and InsuranceThe Exhibitor shall be responsible for loss or damage of artwork for the duration of the exhibition and until it has been returned to the Artist. Insurance coverage during transportation to the Northcutt Steele Gallery, MSU Billings, shall be the responsibility of the Artist. Insurance coverage during transportation to the artist from the Northcutt Steele Gallery, MSU Billings shall also be the responsibility of the Artist.

5. Use of Work. The Exhibitor hereby agrees that the loan of the works under this Agreement is solely for purposes of exhibition and that no other uses shall be made of the work, such other uses including but not limited to commercial exploitation, broadcasts, or other reproduction. The Exhibitor further agrees that the works shall be kept at the following location: Northcutt Steele Gallery, MSU Billings, and shall not be moved or displayed elsewhere without the express, written consent of the Artist.

6. Condition of Work (Framing, Installation, Cleaning, and Repairs)The Artist shall be responsible for delivering undamaged, ready for display artwork to the Exhibitor by the agreed delivery date. The Exhibitor shall not be responsible for proper installation of work that is not properly framed, wired, mounted, etc. All framed artwork must have a secure wire on the back and all three-dimensional work should have a sound base. In the event, special installation is required for the display of any work, the labor and equipment involved shall be outlined in the Gallery Schedule and paid for by the Artist. Exhibitor agrees that the Artist shall have sole authority to determine when cleaning or repairs are necessary and to perform them him/herself.

7. Copyright, Reproduction, and Promotion. The Artist reserves all reproduction rights, including the right to claim statutory copyright on all works on the Gallery Schedule.

The Exhibitor will provide an exhibition postcard. The Artist should provide an acceptable, print-ready digital image (300 dpi, 5”x7”, jpeg or jpeg with longest dimensions between 2100 and 3500 pixels) for reproduction at least 6 weeks before the opening of the show. The Exhibitor will make every effort to provide color postcards for the Artist. The Artist is also responsible for providing the Exhibitor two (2) copies of an Inventory List of the artworks that will be shown, including title, medium, price (for insurance purposes), and dimensions. 
Six weeks before the exhibition opening, the Artist shall also provide the Exhibitor with a short Biography paragraph, Artist Statement, and Resume for exhibition and promotional purposes. If desired, the Artist may provide the Exhibitor with a list of 25 names (consistently formatted) to be included within the mailing of the announcement postcards. The Exhibitor will also provide 25 cards to the Artist prior to the opening that the Artist may choose to mail. The Artist will note that the bulk mailing label located on the postcard that says “postage paid” is a bulk mailing label used by the university and will need to affix postage. 
8. Right to Refuse works not listed in the scheduleThe exhibitor shall retain the right to refuse for inclusion in this exhibition any work that has not been listed in the schedule of artworks.

9. Notices and Change of Address. All notices shall be sent to the Artist at the following address: Pratt Institute, Dept. of Fine Art; 200 Willoughby Avenue; Brooklyn, NY 11205, and to the Exhibitor at the following address: Northcutt Steele Gallery; 1500 University Drive; Billings, MT 59101. Each party shall give written notification of any change of address prior to the date of said change.

10. Governing Law. This Agreement shall be governed by the laws of the State of Montana.

IN WITNESS WHEREOF, Deborah Bright and Northcutt Steele Gallery, Department of Art have signed this Agreement as of the date first set forth above.


___________________________________           ___________________________________
NAME OF ARTIST                              Date           NAME OF REPRESENTATIVE         Date 
Artist                                                                          Northcutt Steele Gallery




Gallery Schedule
 (Located at the end of Exhibition Loan Agreement)

                  Title                        Date              Medium           Size      Insurance    Condition
                                              Created                                                    Value

1. ____________________  ________  _____________  _______  _______  __________

2. ____________________  ________  _____________  _______  _______  __________

3. ____________________  ________  _____________  _______  _______  __________

4. ____________________  ________  _____________  _______  _______  __________

5. ____________________  ________  _____________  _______  _______  __________

6. ____________________  ________  _____________  _______  _______  __________

7. ____________________  ________  _____________  _______  _______  __________

8. ____________________  ________  _____________  _______  _______  __________

9. ____________________  ________  _____________  _______  _______  __________

10. ___________________  ________  _____________  _______  _______  __________

11. ___________________  ________  _____________  _______  _______  __________

12. ___________________  ________  _____________  _______  _______  __________

13. ___________________  ________  _____________  _______  _______  __________

14. ___________________  ________  _____________  _______  _______  __________

15. ___________________  ________  _____________  _______  _______  __________

16. ___________________  ________  _____________  _______  _______  __________


Special Instructions for Installation: ___________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________


Exhibition Loan Agreement

Northcutt Steele Gallery, Department of Art, Montana State University Billings
Exhibition Loan Agreement

Exhibition: September 6, 2017 through October 19, 2017
Dates: August 29, 2017 through October 26, 2017
Artist Contact Information
Name: Deborah Bright
Address: Pratt Institute, Dept. of Fine Art; 200 Willoughby Avenue; Brooklyn, NY 11205
Telephone: (401) 345-6734                                    
Cell: (401) 345-2214

The artist assumes the responsibility of updating the gallery in a timely manner regarding any and all changes to contact information.

Artwork(s) List: 
Deborah Bright Manifest Series, c. 2000-2002

1.        Title: Conveyed to Rosewell Perry by deed of Thomas Baldwin 1806, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
            Insurance Value: $300/Price: NFS
2.         Title: Conveyed to Isaac by deed of Nathan Buckminster 1809, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
3.         Title: Conveyed to Oliver Briggs by deed of Iesiah Carter 1843, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
4.         Title: Conveyed to Aarron Sumner by deed of Ezra Daggett 1816, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
5.         Title: Conveyed to Moses Kimbell by deed of Salem Elliot 1813, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
6.         Title: Conveyed to Asa Dinsmoor by deed of Nathanial Hall 1858, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
7.         Title: Conveyed to Willard Bingham by deed of Jude Harvey 1801, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
            8.       Title: Conveyed to Ebenezer Goodrich by deed of Elisha Harvey 1816, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
            9.       Title: Conveyed to Elisha Metcalf by deed of William Jones 1771, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
10.     Title: Conveyed to Abijah Draper by deed of Oliver Pierce 1837, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
           11.    Title: Conveyed to Warren Blodgett by deed of Sefon Pollary 1829, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
            12.  Title: Conveyed to Reuben Putney by deed of Orchid Pratt 1826, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
            13.  Title: Conveyed to Edwin Sturtevant by deed of Samuel Stevens 1796, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
            14.  Title: Conveyed to Gamahal Barrett by deed of Eben Tolman 1793, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS
            15.  Title: Conveyed to John Claflin by deed of Hosea Whipple 1787, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
            Insurance Value: $300/Price: NFS
            16.  Title: Conveyed to Henry Bowbrick by deed of Almon Woodbury 1804, Edition of 5
Medium: C-Print (20x24 in.) on archival board with printed text
Dimensions: 26x30 inches
Insurance Value: $300/Price: NFS

Lender Contact Information (Lender’s contact information is necessary if any of the artwork(s) are part of a gallery/museum or private collection.)
Address: _______________________________________________   

Telephone: _________________________
Email: _________________________________________________

Credit (Exact form in which Lender’s name should appear for labels/publicity):
_____________________________________



Friday, February 24, 2017

Press Release and Chapter Discussions

MSUB                         Northcutt Steele Gallery
Montana State University Billings                                            For Immediate Release

Press Release

Shayla Fiscus
A Process of Fiber Installation
April 2nd - April 15, 2017
Artist Discussion: Monday, April 10th from 11:40 am – 12:40 pm

[*Free and open to the public]



      This is an in-process art exhibition displaying the planning and process making of MSUB student and artist Shayla Fiscus. Utilizing her sculpture background Shayla translates connections between fiber, tools, and human nature. The process of idea making and planning coincides with the installation planned for her Senior Capstone exhibition. 


     Through sculpture and installation Shayla Fiscus discusses a conversation that is shared between the thread of material and the thread of technology in relation to the user and the wearer. The connection of fiber and human nature translates a tactile physicality and a sensory memory.


Shayla Fiscus, A Social Thread,
thread, metal screen, spools, 
needle, wood, pulley system, 2 ft. x 2 ft. x 6 ft. 

Shayla has devoted her life to art intellectually and physically on various levels and continues to aspire her goals of becoming an art educator and an exhibiting artist after graduation, as well as acquiring a gallery space to manage of her own.  The sculptural installation proposed in A Process of Fiber Installation will be constructed within the Northcutt Steele inner student gallery in the fall of 2017 as Shayla’s Senior Capstone exhibition. During the fall of 2017 Shayla will be student teaching within the Billings Public Schools to complete her art education degree. Ms. Fiscus graduates in the spring of 2018 from Montana State University of Billings; obtaining a Bachelor of Arts in Art Teaching k-12 Degree and a Bachelor of Fine Arts Degree in Sculpture.

     An artist discussion will be held on Monday, April 10th beginning at 11:40am to 12:40pm located on the 1st floor in the inner student gallery of the Liberal Arts Building, MSUB. The artist discussion and exhibition is free and open to the public.

     The Northcutt Steele Gallery is located on the 1st floor of the Liberal Arts Building on the MSUB campus and is open Monday-Friday from 8am to 4pm, and by appointment. For more information visit: www.msubillings.edu/gallery and www.facebook.com/northcuttsteelegallery .

Liberal Arts Building 1st Floor
Inner Student Gallery
1500 University Drive
Billings, MT. 59101
Telephone: 406.657.2903
Fax: 406.657.2187

_________________________________________________________________________________

Prompt #1 Chapter 4: “For Your Consideration”: What is provenance and why is it such an important issue in the art world? The Universal Leonardo project, launched in 2005, focuses on the techniques and processes used by Leonardo da Vinci rather than claiming to determine attribution. Why do you think this shift has taken place?

     Provenance is the recording of information related to an artwork that documents ownership. It is vital within the art world because it identifies the history of the artwork such as: artist or workshop verification, ownership history or documentation from archaeological excavations, records of sale, exhibition history, and citations in exhibition catalogues or art historical writings about the work. These records are available for the owner of a work or when an artwork becomes donated. Provenance historicizes art and keeps it alive in many ways.
     Attributions are vital in art because we have come to value the link between art and artist. The world has come to value the artwork of Leonardo da Vinci intrinsically and extrinsically do to his creativity and talent. Society has created a ‘lasting’ image of this historical artist; the monetary value of the work could decrease if people found out that the artist did not create a work identified with da Vinci. Rather than claiming to determine attribution the artworld is shifting towards the identification of techniques and processes which creates an umbrella that covers all works influenced or created by a master or student practicing the same process. The work is still valued, examined, and appreciated instead of being rejected do to attribution value. Once the ‘lasting’ image has been made it is difficult to change that image because of its intrinsic influences on the artworld and society.

Prompt #3 Chapter 9:
“For Your Consideration”: Review the information presented in Ch. 8 on Marcel Duchamp’s work called Fountain (see Fig. 12). If you had been on the committee that decided what could and could not be exhibited at the American Society of Independent Artists, where Fountain, was first exhibited, would you have allowed this work to be in the show? Why or why not? What would have been criteria for acceptance or rejection?

     I would like to think that I would have allowed Duchamp’s Fountain to be exhibited in the American Society of Independent Artists, because the artist’s interpretation and intent pushed the boundaries of what art is, has been, and could be. I can say that it would have been difficult to interpret and understand Duchamp at first but keeping an open mind to art is key in accepting art. However, the expectations and guidelines of the past played a huge role in ‘what’ art is and I feel that they overshadowed the voices created outside of these guidelines. If the artist’s intent wasn’t given I believe the work could have just become misconstrued and rejected. I am uncertain how I would put parameters on accepting or rejecting art. I think having information about the artwork such as its influences, the techniques and processes, and the artist’s interpretation is influential in considering art on a deeper level. There are times when an artwork can be seen differently after learning how it came about making that connection between the art and the artist.