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The artist portfolio : component and strategies of presentation

Formateur(trice) : Valérie Gill
Durée : 14 heures
Date de la formation : 10 et 11 novembre 2012
Date limite d'inscription : 03 novembre 2012
Coût d'inscription : 50.00$CAD


Real value : 400 $
Location: Stone School, 28 Mill street, Portage-du-Fort
 

For registration and information, please contact France Lamarche of Pontiac Artists' Association at
819 647-2291 or info@artpontiac.com.


Veuillez noter qu’en suivant une formation du service de formation continue du CRCO, vous devenez membre titulaire de l’organisme pour une durée d'un an, avec tous ses privilèges, ce qui constitue une valeur de 30 $.


Clientele

Visual arts professionals, as well as artists in a process of professionalization, interested in managing their own career as well as promoting and diffusing their work.


Prerequisites

To prepare adequately to participate in the training session The Artist’s Portfolio:
Components and Presentation Strategies, we require the following prerequisites:


1.0. DOCUMENTS TO BRING: AN ARTIST’S PORTFOLIO
Participants are asked to come to the session with their ARTIST’S PORTFOLIO. This may be the equivalent of a portfolio that was recently used to make a submission or a portfolio that you are in the process of putting together to submit in the future to a call for portfolios.

Even if your portfolio is not yet complete or updated, bring documents (written (documentation) that you can use as a point of reference during the training, such as your curriculum vitae, your “artist’s approach” text, your project text (individual or group exhibition, artist’s residency, symposium, or other), a descriptive list of your visual documentation, etc.

If you wish, you may bring visual documentation on your recent work in order to refer to it. However, we will not be viewing the images of your works, although we will address the question of visual documentation during the session.

TAKE THE TIME to review your documents before coming to the session. Note the questions that come to mind regarding the ARTIST’S PORTFOLIO and write them down.


2.0. Prerequisite exercise: REFLECT ON THE FOLLOWING QUESTION:
What sites or contexts are good prospects for circulation of your work, and for which you want to put together an artist’s portfolio? And what documents are they asking you to include in your artist’s portfolio?

Write down your answer or put together a list, as applicable. We will address these questions during the training session.

Please note that you must come to the training session with hard copies all of these documents and notes in hand (no printer or Internet connection will be available on site for this workshop). You may also bring a laptop computer (bring an extension cord if you will need to recharge the battery) but be aware that the room in which the session will take place has a limited number of electrical outlets.
 


Synopsis

The artist’s portfolio is artists’ main tool for representing and promoting themselves, and it must assembled as a convincing and coherent document. The portfolio is used for many things: to obtain funding (scholarships, awards, sponsorships, grants), present a project (call for portfolios, project proposal, submission), obtain representation by a gallery or agent, make a sale, make one’s work known to the public and the media, build one’s Web site, and so on. Because the portfolio is visual artists’ main tool for representing themselves, they must be well equipped to assemble and use it strategically.

Combining theory, group discussions, and a practical workshop, this training session is intended to familiarize artists with basic rules for putting together a persuasive, effective portfolio. Participants will be able to promote themselves better to potential purchasers, granting organizations, sponsors, juries, galleries, artist-run centres, and directors of art events, or to develop their Web site.


Trainer - Valérie Gill

With a master’s degree in Fine arts, VALÉRIE GILL has had a professional career in the visual arts during which her sculptures have been presented in numerous exhibitions in Canada and Italy. She has been a speaker, exhibition curator, and member of juries and selection committees, as well as an administrator of Galerie OPTICA. Because she has also worked in the media communications sector (television) she is a press < attaché for singers and musicians, and she also translates and edits texts for a variety of publications. Ms. Gill regularly gives training for professional associations and regional culture councils. 


Politique d'annulation

Article 3 - Modalités telles qu’établies avec Emploi-Québec Outaouais

Si un participant annule son inscription, il doit le faire par écrit ou par téléphone 10 jours ouvrables avant la formation pour recevoir un remboursement complet. Le CRCO se réserve le droit d’annuler un cours si le nombre d’inscriptions est jugé insuffisant. Les frais d’inscription seront alors remboursés.

Tiré du document Politique de la formation continue 2011.

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