These are my notes from my favorite presentation at the three-day WPO Festival in San Francisco, titled “The San Francisco Photo Scene,” 11/19/2010. I learned a lot about opportunities to get involved with galleries and organizations in San Francisco from this panel. I hope you will too 🙂
I’ve listened to so many panels at so many photo events, and I often take notes (like those below) — which I never seem to have time to clean up and share with other people. So this time I decided to just publish them as I took them, so I had no excuse not to share them (and thus I hope you’ll forgive their lack of polish).
Meg Shiffler – Gallery Director, San Francisco Arts Commission
Gallery at City Hall: Especially features work by local photojournalists
Once a year SFAC collaborates with Arts Alliance at City Hall: Generally becomes an open call for exhibitions
Right now: Christina Seely – Lux
The List: How the Arts Commission publicizes new opportunities for artists (photographers and other, not just from San Francisco)
Hamburger Eyes: Photography that’s very immediate, very raw, used to be mostly analogue, publish a journal, curate exhibitions, Photo Epicenter (community printing lab)
RayKo Photo Center: Gallery for exhibitions, sometimes have open calls, very approachable, digital labs, studio space, store
Chuck Mobley – Curator, San Francisco Camerawork
First Exposures: Work with underserved local communities. If you’re interested in teaching and getting involved with community.
Internship Program: Always have from 10-15 interns every semester
Members’ critiques, portfolio reviews, group members’ exhibitions, annual publication, artists’ lectures, book release parties
Often get called by curators around the country when they need a specific kind of artists, especially from SF, so they created a resource page
Tues. Nov. 30: Richard Misrach: Destroy This Memory Lecture and book signing- PLEASE RSVP
Thom Sempere – Director, PhotoAlliance
PhotoAlliance: Support organization for photo community. Don’t have any members and don’t have any permanent space. Philosophy came out of Bay Area photographic history…Friends of Photography, when folded few years ago, there was a gap in the SF community and within a year PhotoAlliance was formed.
Monthly lecture series: Nine years, over 150 photographers. Start each lecture with an emerging artist (about 15 minutes)
Also host field workshops, exhibitions, portfolio reviews (always second weekend of March)
FotoVision: Bay Area nonprofit, run by Melanie and Ken Light, emphasis on documentary photography and storytelling. Workshops, lectures, blog, book reviews, store.
RJ Muna – Photographer & owner, LeftSpace
“[Photographers in SF] seem to share our knowledge, interests. We have a better sense of community than most places in the country and the world. We have something special, and you should revel in it.”
“We are so used to technology, and a sense of the future (being at the tip of Silicon Valley), we sometimes can’t see it. When you look at the history of photography, so much of the recent evolution has been based in technology that has come out of the Bay Area: Adobe, Apple. They started from a sense of curiosity that is unique here.”
Meg: Keep your eyes out for calls to artists. Even if you don’t get in the show and you’re rejected, do it over and over again. Don’t assume if you don’t make it one year, you won’t make it another year. Find out how a specific curator wants to be contacted. If it’s not on their website, the best person to call is their assistant. Know about the curator, past shows, the space. Think of it as applying for a job; you have to DO YOUR RESEARCH. We’re curated out for two years [at SFAC] and then moving the next year, so I think really long term. I might decide to work with an artist and not put their work up for five years.
Thom: Curators frequently pass work along to other curators. If you send work to curators once a year, you probably won’t hear anything the first year, second time they might vaguely remember you, third time they take a look at your work, and the fourth time they might want to work with you.
Meg: If you send an email, it should be no more than five sentences: 1) I’m interested in introducing you to my work. 2, 3, 4) Show that you know who the curator/gallery are. 5) Here’s my website, please take a look. I won’t necessarily respond but I will usually click the link. Six months later, if you have a new body of work, send another email (with only three lines!)
Chuck: Think from the point of view of a curator; the worst thing for them is to NOT KNOW about a local artist, so you’re actually doing them a favor. Curators also get called a lot to make nominations or to be on juries, so it’s good for them to know something about you. The roll of the curator at a nonprofit is a public service. These places exist for you and because of you, so don’t be intimidated meeting with them. At Camerawork we have an open-door policy; if you make an appointment, I’ll try to line up 10-15 minutes at least to meet with you. We also take submissions from anyone, not just people from the Bay Area.
Meg: WHAT NOT TO DO: 1) Don’t show up with your portfolio without an appointment. 2) Don’t send a million JPGs. 3) Don’t ask for a free critique of your work. If you want a critique, go to a review; that’s not my job.
Thom: Be sure to build your own community of people who you respect and who you can get genuine feedback from, not just portfolio reviews, etc. I don’t know of a single job I’ve ever gotten not from word of mouth.
Q: Do you have suggestions for students, how to get involved in the community if you don’t have a portfolio yet? A: Go be an intern, or volunteer at Camerawork, or talk to people at Rayko or Hamburger Eyes about how you can help out. Also learn some admin skills like contracts, registration, cataloging. Ever Gold Gallery was started by local students a few years ago.
Q: Also check out PhotoCentral in Hayward.
Q: Do you need to move to NYC or LA to have a successful career? A: (Meg) A gallerist is never going to ship something they can get in their own backyard. When I work with international artists, I’ll print the work myself and they can pay to have it shipped to them. (RJ) The number one thing that will get you on a gallery wall is having GREAT WORK. (Chuck) There are great communities all over, not just the major cities. (Meg) Watch for definitions on the calls for artists’. We do one every year that’s only local artists. (Thom) Doesn’t matter where you’re from, but you should be from SOMEWHERE. (Meg) If you’re submitting to a show and only have five images, don’t try to show the breadth of your work, show one cohesive BODY OF WORK.