Gallery Handbook Table of Contents
1. Introduction, Contacts, and Emergency Guide
Introduction
3
Important Contacts
4
Emergency Information
4
2. Gallery Basics
Exhibition Cycle
5
Gallery Keys
5
Responsibilities of the Exhibitor
5
Basic Tools and Supplies Available
5
Gallery Access: Load-in and Pick-up
6
Load-in Driving Map
7
3. Presentation Devices and Hardware
AV Equipment and Installation
8
Inventory of Projectors, DVD Players, and Television
9
Inventory of Aluminum Opus Frames
9
Inventory of Black Metal Frames
9
Inventory of Plinths
10
Inventory of Display Case Tables
10
4. Installation and Take-down
Layout and Curating
11
Gallery Floor Plan Map
12
General Tips for Installing
13
Installing 2D Works
14-18
Installing New Media Works
19
Installing a Title Wall, Vinyl, and Didactics
19
Clean-up
19
Gallery Wall Restoration
20-21
5. Lighting
General Lighting Information
22
Track Lighting Diagram
22
Light Installation Instructions
23
Ladder Safety
24
6. Reception and Clean-up
Liquor Permits
25
Reception Supplies
25
Exhibition Expense Form Information
25
Clean-up Responsibilities
25-26
7. Documentation
Gordon Snelgrove Gallery Archives
27
8. Writing
Writing an Artist Statement
Writing a Curriculum Vitae (C.V.)
28
28-29
9. Publicity
Press Releases
30
Exhibition Handbills
30
Distribution
Social Media
30-31
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10. BFA Convocation Guide
BFA Student Status
32
Faculty Advisor
32
Registration in ART 495
32-33
Exhibition Evaluation
33
BFA Checklist
34
11. Exhibition Checklist
2
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Gordon Snelgrove Gallery
Department of Art and Art History
191 Murray Memorial Building
3 Campus Drive, Saskatoon SK S7N 5A4
306-966-4208
www.usask.ca/snelgrove
gordon.snelgrove@usask.ca
Gallery Hours: 9am – 4:30pm
GALLERY HANDBOOK
3
Revised: May 2015
The Gordon Snelgrove Gallery is a teaching facility. While it
has director and part-time staff, exhibitors are expected to be
self-sufficient and resourceful. Ensure all exhibition and
reception details are anticipated in advance and addressed
in consultation with the Gallery Director. Discuss your needs
in advance with the director and please respect the fact that
the staff members in the Department Office are not available
to assist you with exhibition installation and reception
arrangements. All exhibitors should contact the Gallery
Director to review preparations and coordinate installations.
This handbook is a general guide for the practical
preparation and production of exhibitions. It is available for
download on the “Forms and Resources” page of the gallery
website at: http://www.usask.ca/snelgrove/forms/.
Important Contacts
Marcus Miller, Gallery Director
(306)-966-4208
Aralia Maxwell, Gallery Assistant
marcus.miller@usask.ca
alm199@mail.usask.ca
and Technician
eMAP Equipment Services
(306)-966-4263
info@emap.usask.ca
Humanities and Fine Arts (HUMFA)
(306)-966-5559
humfa.admin@usask.ca
Arts and Science General Inquiries
(306)-966-4231
4
Campus Security
(306)-966-5555
5–5–5–5 from campus
phone
Safewalk
(306)-966-7233
5–5–5–5 after 11pm
Emergency Information
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CALL 911 in emergencies (give your name, location and nature of injury):
o Gordon Snelgrove Gallery
o 191, Murray Building
o University of Saskatchewan
o 306-966-4208
Directions to Murray Building (see map on page 3):
o From University of Saskatchewan Bus Terminal, walk north directly
through Place Riel Student Centre (past ATMs, towards the Bowl)
o Once outside, walk forward and on your immediate left there are stairs
leading upwards towards the Gordon Snelgrove Gallery (at the top of the
stairs there is a large rusted steel sculpture comprised of circular shapes)
First Aid Supplies are kept on the counter by the door of the Gallery Office. The
kit contains rudimentary items for controlling bleeding – for excessive bleeding tie
cloth around wound until paramedics arrive.
Stay with injured people, keep them calm and comfortable
Take steps to ensure breathing and control bleeding.
Stay with them until paramedics arrive (ask someone else to call 911 or call and
immediately return).
Ensure injured people have privacy and give panicky bystanders jobs to do.
The "ABC"s of first aid refers to Airway, Breathing, and Circulation.
Take first aid courses every two years.
2. Gallery Basics
Exhibition Cycle
The normal exhibition cycle runs Monday to Friday, 9:00am to 4:30pm (including an
evening reception). Generally, BFA exhibitions run for one week and MFA exhibitions
run for two weeks. Certain exhibitions have different durations depending on
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circumstance. Normally installation begins with key pick-up Saturday afternoon (2pm).
Exhibitors can work the remainder of Saturday and/or all day Sunday.
Please do not plan to start on Saturday before 2pm without consulting the Director. Time
is required to strike prior exhibitions and for gallery maintenance. If exhibitions end with
a closing reception on Friday, the show can be dismantled and cleared from the Gallery
Friday evening and/or Saturday morning/early afternoon. The space should be cleaned,
repaired, painted, and ready for the next show by 1:30pm. Keys must be returned to staff
at that time. You must abide by the clean-up schedule included in the “Exhibition
Agreement” (provided by Director).
Gallery Keys
Keys will be available Saturday afternoon at the start time of installation (2pm). In the
event of two or more exhibitors, these keys will be shared. For group shows, a contact
person should be designated to take responsibility for keys.
Responsibilities of the Exhibitor
Exhibitors must coordinate exhibition plans with the Director. It is the responsibility of the
exhibitor to design, install and strike the exhibition. Transportation of the work to and
from the gallery is responsibility of the student. There is no storage space for artwork in
or around the gallery before or after the exhibition period. Students are responsible for
leaving the gallery in the same good condition as they found it.
Only “gallery white” paint supplied by the Gallery may be used for re-covering temporary
wall colours. Major gallery alterations (including alternate colours, temporary wall
modifications etc.) must be accompanied by manageable plans to restore the gallery to
its former condition and be approved by the Gallery Director.
Basic tools and supplies available
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Tools and hardware: hammers, levels, tape measures, drill, nails, assorted fasteners,
etc. (if in doubt, bring your own).
Ceiling brackets for suspended works.
Projector platforms (suspended) and track power adapters.
Small selection of Opus frames and assorted plinths / pedestals.
Hole filler, paint and tools for wall maintenance and repair. Please note you must use
paint supplied by the Gallery for cover up and touch up work to match existing
surface.
The main Gallery walls are reinforced with plywood and can support a fair amount of
weight without the use of anchored fasteners. However, the four moveable wall partitions
(on wheels) are not designed to support heavy work.
6
Gallery Access: Loading + Pick-up
The Gallery has a parking permit for temporary loading and unloading of artwork. Drive
North on Wiggins Avenue and follow Campus Drive until you reach Science Place. Turn
right on Science Place. When you reach the entrance to the first pay parking lot on your
right side, turn as if you were entering the parking lot, but follow the sidewalk heading
towards the Arts Building (south), instead. You will drive underneath the skywalk
connecting Arts and Thorvaldson. Follow the pathways to the gallery, being aware of
pedestrians and cyclists. Once in front of the gallery, Keep vehicle clear of the main path
by backing up to the steps. When loading is done you must move the vehicle to a regular
parking area.
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3. Presentation Devices and Hardware
AV Equipment and Installation
The Gallery has a limited inventory of electronic equipment so in most cases
exhibitors must borrow these items from the Educational Media Access and
Production unit (eMAP). Equipment requirements and arrangements for security and
daily on/off details must be reviewed with the Gallery Director. eMAP is located in
Room
38
of
the
Education
Building
(http://www.emap.usask.ca)
(email:
equipment.booking@usask.ca or call: 306-966-4263.
Staff members in the Department office are not available to assist with the
installation or operation of electronic equipment in the gallery.
The Gordon Snelgrove Gallery has established very good relations with staff at eMAP.
They understand the needs of artists but are responsible for the long-term
maintenance of the equipment they offer to the university community. It is
imperative that great care is taken with borrowed equipment so that future privileges
are not jeopardized for fellow students and staff. There are two overriding concerns:
#1 secure installation and #2 theft.
All electronic equipment including data projectors, speakers, laptops, monitors etc.
require careful and respectful handling to ensure their longest possible life. To this
end, protocols have been established so that students and staff continue to have
open access to eMAP equipment. With regard to exhibitions involving the use of
data projectors, flat screens and other delicate and expensive equipment, gallery staff
must directly oversee their correct installation and ensure they are secure.
Unless the exhibitor owns the audio-visual equipment they are using, the equipment
must be installed to a hanging platform to prevent theft and ensure safety
(projectors, DVD players, sound equipment cannot be left on a plinth or the ground).
The gallery has three custom hanging platforms for the installation of equipment on
the ceiling. These are suspended with metal chains attached to the four corners and
fixed to the metal ribbing of the false-ceiling with two metal brackets at each of the
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four suspension-points (eight altogether). When the two brackets (left and right) are
used together, they pull together with the hanging weight of the equipment and
form a strong clasp. Equipment must sit securely on the platforms (resting on four
points) and not be installed at precarious angles. When properly used, this system
provides a robust method for the secure and uncluttered installation of AV
equipment in the gallery.
Gallery staff must direct the correct installation of all eMAP equipment.
Projectors, DVD players, and television (last revised: July, 2015)
The Gallery has some audiovisual equipment on site, which you may use for your
exhibition. Please inquire about DVD file compatibility. Please note that clear
projections only work on some walls of the gallery due to wall/ceiling irregularities.
Equipment
Number
Digital projectors
6
Hanging platforms
3
DVD players
6
32 inch LCD HDTV television
1
Bluetooth Speaker
1
Opus frames (last revised: July, 2015)
The Gallery has a small supply of aluminum Opus frames available for short-term
use. Mats are not included. Availability of particular frame sizes is subject to change.
Please check stock in advance. All dimensions are in inches.
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Size
Number
Size
Number
12 x 16
3
24 x 32
1
16 x 20
12
26 x 31
6
18 x 24
5
26 x 32
14
20 x 24
2
28 x 36
24
22 x 28
1
24 x 30
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Black metal frames (last revised: September 5, 2014)
Like the Opus frames, these come with corrugated cardboard and glass. Availability
of particular frame sizes is subject to change. Please check stock in advance. All
dimensions are in inches.
Size
Number
Size
Number
8.5 x 12
18
11 x 17
42
Plinths (last revised: July, 2015)
Caps = painted wood lids extending out slightly from sides)
11
Top Surface
Height
Quantity
18 x 18
35 (cylindrical)
5
18 x 18
45
5
18 x 18
43.5
1
18 x 18
48.5 (with cap)
16 x 16
38
2
12 x 12
45
1
8x8
51 (with cap)
1
24.75 x 24.75
35.75
1
18 x 18
24.5
1
36 x 36
12
2
20 x 9
40
1
24 x 9
40
1
24 x 25
36
1
16 x 16
25
1
13.5 x 12
33.5 (with moldings)
1
2
Display Case Tables (last revised: July, 2015)
Black metal table legs with black tabletop and a clear plexi-glass top.
Top Surface
Height
24 x 60
30 (table height), 8 (glass top height)
Quantity
2
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4. Installation and Take-down
Layout and Curating
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Design the show with the space in mind and with a unified idea. Spend time in the
gallery beforehand to get a feeling for the space and project your work arrangement.
You may want to consider bringing in samples of your work during off hours to get a
better sense of scale.
Use the floor plan to pre-plan your exhibition design. Consult the Director if you plan
to install work requiring special attention.
Consult with as many trusted people as possible, especially advisor(s), peers, faculty
and the Director to provide second opinions.
Consider consulting the online Snelgrove “Archives” to see past show layouts for
what has been done by other artists
Give yourself plenty of time to curate the show before installing. Pre-plan and start
early when it’s your turn in the Gallery. Before installing 2D work, set out the work
against the walls of your area and take time to explore placement and arrangement
options. Consider the horizontal space between the works.
Edit pieces out of the show if it seems crowded. You want to put forward your best
work and create a cohesive show, not show everything you have ever made.
Consider how gallery-goers will move around the space and arrange works to
correspond with this.
The Snelgrove Gallery has a lot of architectural angles. Avoid hanging works too
close to corners where there are strange shadows.
If you plan on including new media elements, which require a darker setting,
consider how that will affect the rest of your show.
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Gallery Floor Plan
http://www.usask.ca/snelgrove/forms/
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General tips for installing
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Gallery height is generally 56 inches. This ensures a consistent mid-point for wall
work (see diagram).
Ensure wall work is level, a uniform height, and position title cards at consistent
locations.
When painting walls:
o Use only the provided “Gallery White” paint on the walls
o If you opt to paint accent walls in colours other than “Gallery White,” you must
provide your own primer when taking the down show.
o Paint must be dry in time for the next group to setup at 2:00pm on the
Saturday after your show is finished.
When using adhesives/tapes:
o Avoid packing tape and duct tape. The adhesive is difficult to remove from
the walls and floor.
o 3M or Scotch double-sided tape tabs are very useful when hanging paper
works to wall if you do not want to use pins, nails, or clips. Other double-sided
tapes may be difficult to remove and may damage your work.
o Do not hang works with painter’s tape. It is not sticky enough to keep work
up.
o If you choose to butt two moveable walls up against each other and want a
“seamless” wall look, using masking tape on the join between the two walls
and painting overtop with “Gallery White” paint is a good solution.
o If you elect to use Velcro to hang your work, attach the wall piece with staples
rather than with the adhesive. Velcro strips are non-removable and this will
save hours of repair work.
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Installing 2D Works
The tool cabinet is kept in the Gallery office. It can be wheeled out and used as a work surface
in the Gallery. You will find a supply of nails and other hardware and some tools in the cabinet.
Hammers, levels, tape measures and other basics can be found on the pegboard in the office.
Please check in advance if you require hanging clips, fastening or power tools, which may be
stored in various office drawers or cabinets.
Picture Hanging / Hardware Options
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A plus B minus C
For 2D wall pieces, measure height of work
and apply the formula A + B - C. If hanging
directly on metal frame, C = 0.
(see illustration on left).
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Measure vertically from floor along one side of frame to calculated height of fastener and mark
with pencil. Then, using a level mark off the distance between the hangers, or if hanging
directly on metal frame, somewhat less than the total width.
Hanging directly on frame …
Drive nails at a very slight downward angle and leave about 15 mm exposed. If picture does
not hang perfectly level, adjustment can often be made by tapping one nail or the other very
gently downward.
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Hanging with wire …
Divide wire into approximate thirds and lift to taut position as shown. Measure from this point to
top of frame to obtain C. Always hang on two nails to prevent picture from tilting. Distance
between nails should be about one third the width of the picture.
Hanging with hinged hangers …
Install hangers near the top of the work (10cm) ….
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Applying formula (A + B - C), measure vertically along one side of frame to calculate height of
fastener. Using a long level with measuring scale mark off the distance between the hangers.
Drive nails as described above, hang and level. Larger works may require two people to hang.
J-hook Hardware
Note: The fastener height is where a nail is driven to support the hinged hanger (top of hinged
loop) on either side of the work. If you are using picture hanger hardware (J-hook) the top of
the loop will rest on the ‘J’, which is lower than the nail spot. You will drive a small nail to hold
the hanger J-hook on the wall. Make sure the bottom of the ‘J’ ends up as your fastener height
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rather than the nail head.
Thanks to Kim Ennis who models in these demonstration photographs.
Installing New Media Works
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The Gallery Technician must be present when installing projectors
o Note the angles of the walls when planning on using projected visuals. Some
walls do not allow for a squared image.
o Consider the lighting in the gallery. You may want to cover the windows on
the gallery doors to obtain optimal light for your projection.
Consider electrical cords.
Installing a Title Wall, Vinyl, and Didactics (labels)
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Ensure that title cards and didactics are at a consistent location and height in relation
to the artwork.
When writing or drawing on walls:
o Be careful of the drawing medium you use. Some permanent markers and
paint markers will show even after several coats of paint. Consider testing
your medium first and painting over to see how the paint will cover.
Vinyl:
o Use masking tape to position your vinyl in the appropriate location.
o Make sure vinyl is level using the black border printed around the text as a
guide.
o Keeping a strip of masking tape at the top of your vinyl to hold it in place on
the wall, peel back part of the adhesive backing.
o Using a credit card or spatula, apply pressure to the front of vinyl in a
scraping/rubbing motion. Continue peeling away backing and working your
way across vinyl.
o When the backing is completely off and your vinyl is adhered to the wall,
carefully peel away the front adhesive layer, making sure your lettering sticks
to the wall.
o Do not leave the border on the wall, it is merely a guide for application.
Clean-up
All exhibitors must sign the Exhibition Agreement” (provided by Director) and adhere to
the cleanup schedule outlined below.
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The office and kitchen area must be clean and restored by 2:00pm the morning
after the reception.
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The walls must be restored, gallery cleaned, and work removed so the gallery
space can ready for the next exhibitor by 2:00 pm Saturday (paint must be dry at
this time).
Use the dry mop, broom, dustpan and wet mop available in the office to assist
floor cleanup.
Gallery Wall Restoration
Use pliers to remove nails rather than a hammer. This causes less damage. Sand lightly
over nail or screw holes to bring the edges flush to the wall surface. Stubborn pencil and
other marks often can be removed by light sanding as well.
Erase all pencil marks made while hanging work. Some pencil marks are removed best
by wiping with a damp cloth or scrubber. Wash the wall where work was hung if
necessary (finger marks, etc.). Fill holes with filler using plastic (yellow) scraper. Do not
use metal scrapers.
Use the fill economically, leaving no excess around hole. Excess can be removed with
scraper and the holes filled completely by scraping ninety degrees to initial fill stroke.
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Spot touch-ups with paint may be all you need to do if wall damage is limited to nail
holes. This can be done with a small sponge brush. Dab the paint to emulate roller
ripple, rather than using brush strokes. The wet side of the paint-can lid makes a good
palette. For more extensive paint touch-ups, a small roller can be used, either with a
paint tray or by dipping in the paint and rolling excess on the paint can lid. For those big
jobs (covering drawings done directly on the wall or temporary coloured sections)
obviously a large roller and tray is best.
The plinths can be wiped down and touched up with paint as well.
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5. Lighting
Lighting is generally done after the work is installed. You may want to experiment to
achieve the desired lighting for your work. The Gallery has an assortment of LED lamp
fixtures ranging from narrow spots to wide floods.
Note: on the side of of each lightbulb a letter “S” for spot light or “F” for flood light will be
written.
Most wall work can be lit with the 75 watt / 50 degree beam, giving diffuse and uniform
light. A more concentrated brighter beam is offered by the 30 degree or 9 degree
(narrow spot) lamps. The larger units, 75 – 100 watt / 30 degree beam are useful for
distance lighting or fill lighting, but excessive for most short throw wall track applications.
Note: When changing lights, be careful to not touch or grab the light socket. Our new
LED bulbs do not fit into their hardware as well as our old lightbulbs. A metal clip has
been pushed in to hold the bulb in place and may pop out if care is not used.
When using the ladder, please follow safety precautions (see instructions). The Director
will provide lighting assistance as needed or more information on lamps, gels and
lighting fixtures.
Please note the instructions for proper installation of the light fixtures into the track. The
fixture must be inserted in the track with the safety thumb switch on the same side as the
raised bead (barely) running along the track channel (alternates with polarity of each
section of track).
When lighting, use the minimum amount of light to show the work. The first impulse is to
bombard the work with too much light.
Following these instructions will ensure maximum lamp service and significantly reduce
wear and tear on the fixtures.
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Track Lighting Diagram
26
Ladder Safety
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6. Reception and Clean-up
Organize your reception in cooperation with the other artists sharing the Gallery.
Recommended time is Friday, 7 – 10pm. You might check for possible conflicts with
other gallery receptions or events in the city. However, with one-week shows, choices
are limited. Students are responsible for food and supplies, set-up and cleaning
afterwards. A refrigerator is available and supplies may be brought to the gallery in
advance of the reception set up time.
Liquor Permits
Two permits are required if alcoholic drinks are to be served at a reception and must
be posted in a visible area:
1. A University of Saskatchewan Permit (Arrange with Gallery Director at least
one week prior to reception. This Permit is free)
2. A SK Liquor Board “Not-For-Resale” Permit (obtained at Government liquor
store one week before the event). Bring a photo I.D. with you. The SK Liquor
Board License costs $15. The receipt with your liquor purchases must be
stapled to this.
Reception Supplies
The Gallery has wine glasses, tablecloths, dishtowels, punch bowl, a variety of platters,
coffee maker, cutting board, knives, etc. You are responsible for providing plastic
glasses, napkins, and other disposable supplies. All glasses and other kitchenware used
must be washed and put away at the end of each reception.
Gallery tablecloths and towels should be left for the Gallery staff to launder.
Please remember that the gallery kitchen is the staff workplace. The office computer and
other equipment are not to be used – food and liquids must be kept off the desk and
away from equipment, the tables must be cleared and cleaned and all garbage (bottles,
packaging, food remains, etc.) bagged or boxed for removal or disposal. Make sure
garbage bags are not leaking liquids – double bag if necessary. The door must be
locked when you leave.
Exhibition
Expense
Form
(see
http://www.usask.ca/snelgrove/forms/)
must
be
submitted with original receipts for reimbursement of exhibition-related expenses.
BFA graduating students are allotted $75 for printing costs and reception food
service, MFA graduating students: $150. THIS BUDGET DOES NOT COVER ALCOHOL.
Clean-up Responsibilities
All exhibitors must sign the Exhibition Agreement” (provided by Director) and adhere to
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the cleanup schedule outlined below.
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Reception buffet food, bar tables, and all garbage in the exhibition space should
be cleaned up and put away before leaving the gallery on the night of the
reception.
The office and kitchen area must be clean and restored by 11:00 am the morning
after the reception.
All work must be removed from the gallery by noon Saturday.
The walls must be restored and the gallery space ready for the next exhibitor by
noon Saturday.
Use the dry mop, broom, dustpan and wet mop available in the office to assist
floor cleanup.
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7. Documentation
The gallery normally documents exhibitions for the website and its archives. Copies of
these image sets are available free of charge but will likely not be as thorough or useful
as your own. The importance of professional documentation cannot be overstressed.
This is your responsibility.
Gordon Snelgrove Gallery Website and Archives
Graduating exhibitions are documented for inclusion in the Gallery’s internal archive.
Ideally, a selection of the documentation is eventually posted on the Gallery website at
www.usask.ca/snelgrove/Archive.html. Currently, the Gallery does not pay copyright
fees for the web reproduction of student work on the site. If for this or any reason you
wish to be excluded from the web archives please inform the Gallery Director. It is to
your advantage to submit as much written material (artist statement, CV, biography etc.)
as possible to be included with visual documents.
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8. Writing an Artist Statement
While artist statements aren’t necessary in all exhibition situations, a one-page
statement is a degree-requirement at the University of Saskatchewan. In fact, a
thoughtful and well-directed text can enrich the work for viewers who may be unfamiliar
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with you, your work or the assumptions you make.
There are many different approaches to artist statements. Review the PowerPoint
presentation “Artist Statement Writing” on the website for tips
(http://www.usask.ca/snelgrove/forms/).It is useful to research web resources and look at
what other artists have written to help determine your approach.
Start with the following basic building issues:
Media and techniques
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Discuss the medium chosen and why?
Are you drawn to particular qualities of the medium?
Is your application of the medium unique and does this impact the final
appearance of the work? In what way does this impact the final appearance of
the work?
Style, composition and subject matter
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Describing your style can give the viewer important clues to understanding your
work.
What artist/art schools have affected your development as an artist?
How do you locate your work within an art historical context?
How does your work differ from other artists working under the same influence?
Is there a narrative in your work? If so can you describe its content?
Be concise. Describe your style in simple and powerful terms.
Vision and Purpose of your work
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Tell the viewer what drives your artistic impulse and indicate what you hope to
achieve with your work.
Discuss what you hope viewers might gain from it.
Consider how your art is unique and different – and how it integrates with its
precedents. Ask people, including peers, advisor(s) and faculty to describe your
work, its relationship to other art, to you and how they feel about it.
Writing a Curriculum Vitae
Curriculum vitae (pl. curricula vitæ or curricula vitarum) translates as the course of one’s
life. A curriculum vitae (C.V.) is the standard compilation of one’s professional
achievements in academic and artistic fields. Unlike the résumé, a C.V. does not have
an overtly promotional function. It lists professional achievements under categories
including: exhibitions, education, professional experience, grants, bibliography,
published writing, professional affiliations etc. It situates the artist in terms of educational
background, professional experience and networks of interest. There are many guides
available on the web. Here are a few:
 U of S Curriculum Vitae (C.V.) Guide:
http://students.usask.ca/current/life/employment/resume/cv.php
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College Art Association:
http://www.collegeart.org/guidelines/visartcv
Purdue Online Writing Lab:
http://owl.english.purdue.edu/owl/resource/641/01/
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9. Publicity
Press releases are written and distributed by the Gallery Director. The Director
requests as much biographical, poetic, descriptive and illustrative information as
possible to formulate dynamic and informative promotional material and to tour
visitors, students and faculty through the exhibition with confidence and enthusiasm.
Artists should ensure that the Gallery Director has the following items at least two weeks
prior to the exhibition (see “Exhibition Agreement”):
 exhibition title
 short exhibition description
 short artist’s biography
 Curriculum vitae
 artist statement
 digital images of related work
Exhibition Announcement Cards:
Exhibitors are responsible for the production of their own exhibition announcements.
Cards should contain the following information:
 Title of exhibition
 Artist’s name (optionally identify as a BFA or MFA show if applicable)
 Exhibition dates (with year) / date and time of reception
 Location information and acknowledgements (see below)
Gordon Snelgrove Gallery
Monday to Friday - 9am to 4:30pm
191, Murray Building
University of Saskatchewan
306-966-4208
www.usask.ca/snelgrove/
There are at least four acknowledgments that must be must be included:
1. Department of Art and Art History
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2. College of Arts and Science
3. University of Saskatchewan
4. Saskatchewan Arts Board
Use either logos or the following statement:
 The Gordon Snelgrove Gallery is supported by the Department of Art and Art
History, the College of Arts and Science, the University of Saskatchewan and the
Saskatchewan Arts Board with funds from SaskCulture Inc. and Saskatchewan
Lotteries.
Distribution:
The gallery does not post printed exhibition invitations, but will distribute copies to the
department mailboxes (about twenty copies). Exhibitors are responsible for making
these arrangements with the Director. You may leave copies at the main office as well.
The gallery disseminates electronic press releases and notices to calendar listings
maintained by the College of Arts and Science and the PAWS ArtScene Channel and
to the larger community. Electronic versions of the announcement may be included.
Consult with the Gallery Director on formatting.
Students are encouraged to extend publicity efforts by working with the Director on
the Press Release well in advance of the exhibition start date. Student compilations
of public media contacts, arts and culture organizations and related listing services
are highly encouraged. This greatly enhances the public for your work and helps
develop a valuable personal network of artists, galleries and related community
contacts.
Social media posts are made during the week of show by the Gallery Assistant on
Instagram, Facebook, and Twitter.
We encourage exhibitors to make use of social media platforms (facebook, twitter,
instagram, etc.) to share their event with the public. Exhibitors may also contact local
newspapers, radio stations, websites, etc. to promote their event. Distribution of
posters and handbills at various locations across the city is also encouraged.
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10. BFA Convocation Guide
B.F.A. Student Status
Before beginning the process for a B.F.A. exhibition, ensure that you are registered as a
B.F.A. student and not a B.A. student. The BFA degree requires four years (120 credit
units) in the College of Arts & Science, including two years in the pre-BFA program and
two years in the BFA program. Foundation courses are to be completed in the first and
second years of the program. A BFA candidate must maintain a Cumulative Weighted
Average of 70% or better on all courses.
The academic requirements for a BFA degree and a BA Advanced degree are not the
same. It is advisable to take those academic courses, which fulfil both degree
requirements. Students must have a CPA of 70% or better on all courses to be
considered for a final exhibition in ART 495.
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Faculty Advisor
You must identify a Faculty Advisor to consult with in developing artwork for the
Exhibition. This Advisor is required to sign the Exhibition Request Form and meet with
you prior to the exhibition. You are responsible for adhering to these requirements and
organizing the meetings.
Registration in ART 495
In order to graduate with a BFA in Studio Art, students must complete the ART 495
course.
Prior to arranging your BFA exhibition, you are responsible for ensuring all College
registration and academic requirements are resolved with respect to eligibility and
current status within the BFA program. In follow up to annual Faculty Advising sessions,
you should inquire about completing an “Exhibition Request Form” (appendix or
http://www.usask.ca/snelgrove/forms/), and obtaining permission to register in ART 495
through the Main Office of the Department of Art and Art History.
When your form has been processed and you have received permission for registration
in ART 495, the Department Office will enter this information online in the PAWS system.
When this is done, you must then register for ART 495 as you would for any class.
Please note there is no class limit or registration fee for ART 495.
Calculation of your STUDIO ART average occurs after you have submitted the Request
Form. In order to submit the Request Form you must have no more than 30 credit units
remaining in studio art courses and be entering the fourth year of the BFA program and
be planning to take at least one studio course in your exhibition media area in your final
year.
A copy of your approved request form will be forwarded to the Gallery Director who will
contact you to schedule the exhibition and coordinate specific needs.
The Gordon Snelgrove Gallery is available as an exhibition venue to all prospective
graduates of the Department of Art & Art History. Typically, BFA exhibitions are
scheduled as trios and run for one week. MFA exhibitions are solos and run for two
weeks. Graduating exhibitions are scheduled between September 1 and April 30. The
Gallery Director will contact BFA students to schedule an exhibition following receipt of
the
approved
“Exhibition
Request
Form”
(appendix
or
http://www.usask.ca/snelgrove/forms/). Every effort is made to ensure that exhibitions
are compatible. Exhibition dates and details are arranged in consultation with the Gallery
Director. Students should make every effort to book their show well in advance (3 to 6
months) or as soon as eligibility is confirmed. Some flexibility is required, as dates may
need to be changed during the year.
Students must include a one-page written artist statement with their exhibition, which
must be developed in consultation with the designated faculty advisor. The statement
should elaborate on and situate the work. It should be printed and distributed to the
members of the full-time faculty through the main office and the Gallery Director. A copy
must be available to the public during the show.
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Exhibition Evaluation
The exhibition must meet the expectations of the Faculty Advisor and a second invited
Faculty member who will meet with the student to discuss and evaluate the exhibition. A
grade of CR (Completed Requirements) will be assigned on successful completion of the
exhibit. A student having an unacceptable exhibition (fail) will have one opportunity to
mount a second exhibition within twelve months. If this results in a pass (CR), the
student will graduate. If not the student may want to fulfil the requirements of a BA
Advanced degree in Art.
BFA Checklist
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Apply to register in the BFA program after fulfilling sufficient course
requirements
Arrange for a faculty advisor to oversee your graduating exhibition
Complete a BFA Exhibition Request Form
(http://www.usask.ca/snelgrove/forms/), have it signed by an advisor and
return it to the Department of Art and Art History Office. This determines
eligibility for ART 495. A copy is sent to the Gallery Director for
scheduling.
Register on PAWS for ART 495 as for any other class (be sure to
register in the same term that your exhibition occurs).
Secure an exhibition date with Gallery Director and begin exhibition
preparations.
When you believe your course requirements are fulfilled, arrange for a
“grad check” with the Arts and Science Undergraduate office
Apply to graduate on PAWS
Consider, discuss and revise work and exhibition preparations with as
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many trusted people as possible, especially advisor(s), peers, faculty and
director.
11. Exhibition Checklist
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Secure an exhibition date with Gallery Director 3-6 months prior to exhibition
Write an artist statement and provide a copy for the Gallery Director two weeks
before exhibition
Create and distribute promotional materials
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Meet with other exhibitors prior to installation weekend to ensure everyone’s
needs are met and to work out a floorplan
Ensure that the gallery has all of the hardware you need to hang your show (you
may need to purchase your own hardware)
Purchase/make vinyl and other didactics
Have labels ready to print (you may use the gallery printer with the help of the
gallery staff)
Curate
Installation
Lighting
Document exhibition for your personal records
Obtain liquor permit
Plan menu for the reception
Make arrangements for music if you so desire (the gallery has a Bluetooth
speaker which you may use)
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