I. Introduction

Gallery Handbook - Revised: May 2015

The Gordon Snelgrove Gallery is a teaching facility. While it has a 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 Label Templates” page of the gallery website.

Important Contacts

Marcus Miller, Gallery Director (306)-966-4208 marcus.miller@usask.ca
Mary Sarcauga. Gallery Assistant
Arts and Science General Inquiries (306)-966-4231
Campus Security (306)-966-5555 5-5-5-5 from campus phone
Safewalk (306)-966-7233 5–5–5–5 after 11pm

Emergency Information

  • CALL 911 in emergencies (give your name, location and nature of injury):

Gordon Snelgrove Gallery
191, Murray Building
University of Saskatchewan
306-966-4208

  • Directions to Murray Building (see map on page 3):
    • From University of Saskatchewan Bus Terminal, walk north directly through Place Riel Student Centre (past ATMs, towards the Bowl)
    • 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,
  • Take first aid courses every two years.

II. 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 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

  • 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.
  • mall 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 6 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.

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.

III. 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 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.

Size Number
12 x 16 3
16 x 20 12
18 x 24 5
20 x 24 2
22 x 28 1
24 x 30 16
24 x 32 1
26 x 31 6
26 x 32 14
28 x 36 24

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
8.5 x 12 18
11 x 17 42

Plinths (last revised: July, 2015)

Caps = painted wood lids extending out slightly from sides)

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) 2
16 x 16 38 2
12 x 12 45 1
8 x 8 51 (With cap) 1
24.75 x 24.7 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 moulding) 1

Display Case Tables (last revised: July, 2015)

Black metal table legs with black tabletop and a clear plexi-glass top.

Top Surface Height Quantity
24 x 60 30 (table height). 8 (glass top height) 2

IV. Installation and Take-down

Layout and Curating

  • 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.

Gallery Floor Plan

General tips for installing

  • 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:
    • Use only the provided “Gallery White” paint on the walls
    • If you opt to paint accent walls in colours other than “Gallery White,” you must provide your own primer when taking the down show.
    • 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:
    • Avoid packing tape and duct tape. The adhesive is difficult to remove from the walls and floor.
    • 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.
    • Do not hang works with painter’s tape. It is not sticky enough to keep work up.
    • 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.
    • 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.

Installing 2D Works

This section includes illustrations please download the PDF below to view the instructions.

Installing New Media Works

  • The Gallery Technician must be present when installing projectors
    • Note the angles of the walls when planning on using projected visuals. Some walls do not allow for a squared image.
    • 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)

  • Ensure that title cards and didactics are at a consistent location and height in relation to the artwork.
  • When writing or drawing on walls:
    • 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:
    • Use masking tape to position your vinyl in the appropriate location.
    • Make sure vinyl is level using the black border printed around the text as a guide.
    • 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.
    • 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.
    • 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.
    • 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. 

  • The office and kitchen area must be clean and restored by 2:00pm the morning after the reception.
  • 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

This section includes illustrations please download the PDF below to view the instructions.

V. 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. 

Track Lighting Diagram

Ladder Safety

VI. 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 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 the cleanup schedule outlined below. 

  • 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.

VII. 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 Archive Page. 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. 

VIII. 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 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.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

  • 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

  • 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

  • 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:

College Art Association:

Purdue Online Writing Lab:

IX. 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
  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.

X. 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 fulfill 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.

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”, 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”. 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.

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

  • Apply for B.F.A. program (refer to the Office of the Dean of Arts and Science for dates). 
  • Ensure you meet the requirements for convocation and have the required overall and art class averages.
  • Make arrangements with a studio faculty member to act as your supervisor.
  • Obtain a BFA Exhibition Request form, have it signed by an advisor and return the completed form as directed to Main Office, Department of Art and Art History. This determines your registration permission for ART 495. A copy must be sent to the Gallery Director for scheduling
  • Secure an exhibition date in the gallery with the Gallery Director.
  • Register on PAWS for ART 495.0 as for any other class. Be sure to register in the same term that your exhibition will occur.
  • When you believe your course requirements are fulfilled, arrange for a “grad check” with the Arts and Science Undergraduate office (The sooner you do this, the better. The process can take months.)
  • Apply to graduate on PAWS.
  • Make contact with supervisor/professor to discuss work as directed.
  • Complete work.  Get feedback from peers / instructors.
  • Write artist statement. Get input from peers / faculty.
  • Attend to publicity and reception arrangements - remember to register liquor event request through the Gallery office.
  • Show time!  Install work - finish labels - distribute promotional materials
  • Reception and take down.
  • Submit receipts with expense form to Director.
  • Receive notification of faculty decision for “CR” or “Remount” and Collection donation if applicable. 

XI. Exhibition Checklist

  • 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
  • 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)