Nearly all commercial glasses fall into one of six basic categories or types. These categories are based on chemical composition. Within each type, except for fused silica, there are numerous distinct compositions.
Soda-lime glass is the most common (90% of glass made), and least expensive form of glass. It usually contains 60-75% silica, 12-18% soda, 5-12% lime. Resistance to high temperatures and sudden changes of temperature are not good and resistance to corrosive chemicals is only fair.
Lead glass has a high percentage of lead oxide (at least 20% of the batch by weight). It is relatively soft, and its refractive index gives a brilliance that may be exploited by cutting. It is more expensive than soda-lime glass and is favoured for electrical applications because of its excellent electrical insulating properties. Thermometer tubing and art glass are also made from lead-alkali glass, commonly called lead glass. This glass will not withstand high temperatures or sudden changes in temperature.
Borosilicate glass is any silicate glass having at least 5% of boric oxide in its composition. It has high resistance to temperature change and chemical corrosion. Not quite as convenient to fabricate as either lime or lead glass. Borosilicate's cost is moderate when measured against its usefulness. Pipelines, light bulbs, photochromic glasses, sealed-beam headlights, laboratory ware, and bake ware are examples of borosilicate products.
Aluminosilicate glass has aluminum oxide in its composition. It is similar to borosilicate glass but it has greater chemical durability and can withstand higher operating temperatures. Compared to borosilicate, aluminosilicates are more difficult to fabricate. When coated with an electrically conductive film, aluminosilicate glass is used as resistors for electronic circuitry.
Ninety-six percent silica glass is a borosilicate glass, melted and formed by conventional means, then processed to remove almost all the non-silicate elements from the piece. By reheating to 1200°C the resulting pores are consolidated. This glass is resistant to heat shock up to 900°C.
Fused silica glass is pure silicon dioxide in the non-crystalline state. It is very difficult to fabricate, so it is the most expensive of all glasses. It can sustain operating temperatures up to 1200°C for short periods.
The full article is available from the Corning Museum of Glass
Thursday, 29 January 2009
Saturday, 24 January 2009
Baoli compatibility with Bullseye
My tests have shown a variety of compatibilities from badly incompatible to apparently fully compatible. Each sheet will need to be tested against Bullseye, but this gives some indication of the extent of compatibility across the range. With my set of samples this indicated that 71% might be compatible, 23% showed stress and 6% were clearly incompatible.
All these were tested using Bullseye Tekta 1101.38 with a strip test. Again I stress each sheet of Baoli will need to be tested before use.
BB00-3 compatible
BB001 slight incompatibility
BB023-3 not compatible
BB024-3 slight incompatibility
BB031-3 compatible
BB032-3 slight incompatibility
BB059-3 compatible
BB063-3 compatible
BB071-3 compatible
BB072-3 compatible
BB074-3 compatible
BB081-3 compatible
BB082-3 compatible
BB091-3 slight incompatibility
BB101-3 slight incompatibility
BB211-3 compatible
BB0311-3 compatible
BB0410-3 compatible
BB0411-3 compatible
BB0412-3 compatible
BB0413-3 slight incompatibility
BB0414-3 compatible
BB513-3 slight incompatibility
BB0413-3 compatible
BB0414-3 compatible
BB0415-3 compatible
BB0416-3 compatible
BB049-3 compatible
BB0510-3 compatible
BB0511-3 compatible
BB0512-3 compatible
BB0513-3 compatible
BB058-3 compatible
BB711-3 slight incompatibility
BB712-3 compatible
BB812-3 slight incompatibility
BB911-3 not compatible
All these were tested using Bullseye Tekta 1101.38 with a strip test. Again I stress each sheet of Baoli will need to be tested before use.
BB00-3 compatible
BB001 slight incompatibility
BB023-3 not compatible
BB024-3 slight incompatibility
BB031-3 compatible
BB032-3 slight incompatibility
BB059-3 compatible
BB063-3 compatible
BB071-3 compatible
BB072-3 compatible
BB074-3 compatible
BB081-3 compatible
BB082-3 compatible
BB091-3 slight incompatibility
BB101-3 slight incompatibility
BB211-3 compatible
BB0311-3 compatible
BB0410-3 compatible
BB0411-3 compatible
BB0412-3 compatible
BB0413-3 slight incompatibility
BB0414-3 compatible
BB513-3 slight incompatibility
BB0413-3 compatible
BB0414-3 compatible
BB0415-3 compatible
BB0416-3 compatible
BB049-3 compatible
BB0510-3 compatible
BB0511-3 compatible
BB0512-3 compatible
BB0513-3 compatible
BB058-3 compatible
BB711-3 slight incompatibility
BB712-3 compatible
BB812-3 slight incompatibility
BB911-3 not compatible
Friday, 23 January 2009
Painting Tracing Lines on Glass
Testing the thickness of the paint
Using your smaller brush, load the paint into it, and practice applying black lines on a clear piece of scrap glass. If the paint seems too thick, add a very small amount of water.
Paint that does not stick
If the paint seems to bubble up or not adhere to portions of the glass, it is likely the glass is not clean. You can wash the glass, or simply add a little more water to the paint already on the glass and rub the paint over the glass with your finger or a small piece of paper towel. This will remove any dirt or film of oils on the glass.
Testing the amount of gum arabic
Allow your painted lines to completely dry. You will notice the dry paint has a chalky, opaque quality. Test your paint lines by rubbing a finger across a line. If it easily rubs off like powder, you need a bit more gum arabic. If you can't budge it and it seems hard and crusty, you have much too much gum in the mixture. Adjust the mixtures accordingly.
Inspecting the fired glass
When the glass is fired in the kiln, the paint (which is made of ground glass and various ground pigments) fuses with the glass. Too much gum in the mix, and the paint may bubble, sit on the surface, or do a few other ugly and unprofessional tricks to embarrass you. You have no choice but to start over with a new piece of glass. Getting the amount of gum arable right is crucial to the process.
If the lines are not consistent in colour depth, you can trace over them and fire again. This will darken the lines to a consistent level of colour.
Practice
Practice your tracing. This part of the art is like calligraphy - half the battle is learning to use your tool, the tracing brush, in one or two confident strokes. The quality of your trace line tells the world whether you are an amateur or an accomplished artist! You might even decide this is the only glass painting technique you will ever use. And you would be in good company. A good deal of Gothic stained glass relied solely on tracery for its embellishment and to good effect.
Using your smaller brush, load the paint into it, and practice applying black lines on a clear piece of scrap glass. If the paint seems too thick, add a very small amount of water.
Paint that does not stick
If the paint seems to bubble up or not adhere to portions of the glass, it is likely the glass is not clean. You can wash the glass, or simply add a little more water to the paint already on the glass and rub the paint over the glass with your finger or a small piece of paper towel. This will remove any dirt or film of oils on the glass.
Testing the amount of gum arabic
Allow your painted lines to completely dry. You will notice the dry paint has a chalky, opaque quality. Test your paint lines by rubbing a finger across a line. If it easily rubs off like powder, you need a bit more gum arabic. If you can't budge it and it seems hard and crusty, you have much too much gum in the mixture. Adjust the mixtures accordingly.
Inspecting the fired glass
When the glass is fired in the kiln, the paint (which is made of ground glass and various ground pigments) fuses with the glass. Too much gum in the mix, and the paint may bubble, sit on the surface, or do a few other ugly and unprofessional tricks to embarrass you. You have no choice but to start over with a new piece of glass. Getting the amount of gum arable right is crucial to the process.
If the lines are not consistent in colour depth, you can trace over them and fire again. This will darken the lines to a consistent level of colour.
Practice
Practice your tracing. This part of the art is like calligraphy - half the battle is learning to use your tool, the tracing brush, in one or two confident strokes. The quality of your trace line tells the world whether you are an amateur or an accomplished artist! You might even decide this is the only glass painting technique you will ever use. And you would be in good company. A good deal of Gothic stained glass relied solely on tracery for its embellishment and to good effect.
Thursday, 22 January 2009
Coloured Glass
Glass is coloured by (1) impurities in the batch ingredients, or(2) by one of three processes:
a. using a dissolved metallic oxide to impart a colour throughout
b. forming a dispersion of some substance in a colloidal state, and
c. suspending particles of pigments to form opaque colours.
A few historical examples:
The name of a colour was often used to describe a certain kind of glass, as in the Black bottle: a term for bottles of dark green or dark brown glass, the dark colour of which protected the contents from light. Often the "colour" black that appeared with reflected light was caused by the combination of iron, found in the sand used to make the batch, and the sulphur found in the smoke from the coal used to melt the batch. "Black" glass was first made in England in the mid-17th century.
Often, the name of the mineral added to give the glass its colour, as in Uranium glass (glass coloured with uranium oxide) was used. This brilliant yellow-green glass was first made in the 1830s.
Sometimes, a combination of both the additive and colour, as in Gold ruby glass was used. This is a deep red glass coloured by the addition of gold chloride to the batch. The method of making gold ruby glass was perfected shortly before 1679.
Optical terms can be used to describe the glass, as in dichroic glass. This is glass that is one colour when seen by reflected light and another colour when light shines through it (this is sometimes due to the presence of minute amounts of colloidal gold).
Iridescent glass is a deliberate effect (visually similar to the shimmering rainbow effect seen on the surface of soap bubbles, oil slicks, or fish scales). This is achieved by the introduction of metallic substances into the batch or by spraying the surface with stannous chloride or lead chloride and reheating it in a reducing atmosphere. On ancient glass, iridescence is caused by interference effects of light reflected from several layers of weathering products.
Iron can produce greens, iron and sulphur can produce ambers and browns, copper can produce light blues, cobalt produces very dark blue, manganese can produce shades of amethyst colour, tin can produce white, lead antimony can produce yellow and various metals produce reddish glasses.
A decolorizer is a substance (such as manganese dioxide or cerium oxide) used to remove or offset the greenish or brownish colour in glass that results from iron impurities in the batch or iron or other impurities in the pot or elsewhere in the production process.
The full article can be seen at the Corning Museum of Glass
a. using a dissolved metallic oxide to impart a colour throughout
b. forming a dispersion of some substance in a colloidal state, and
c. suspending particles of pigments to form opaque colours.
A few historical examples:
The name of a colour was often used to describe a certain kind of glass, as in the Black bottle: a term for bottles of dark green or dark brown glass, the dark colour of which protected the contents from light. Often the "colour" black that appeared with reflected light was caused by the combination of iron, found in the sand used to make the batch, and the sulphur found in the smoke from the coal used to melt the batch. "Black" glass was first made in England in the mid-17th century.
Often, the name of the mineral added to give the glass its colour, as in Uranium glass (glass coloured with uranium oxide) was used. This brilliant yellow-green glass was first made in the 1830s.
Sometimes, a combination of both the additive and colour, as in Gold ruby glass was used. This is a deep red glass coloured by the addition of gold chloride to the batch. The method of making gold ruby glass was perfected shortly before 1679.
Optical terms can be used to describe the glass, as in dichroic glass. This is glass that is one colour when seen by reflected light and another colour when light shines through it (this is sometimes due to the presence of minute amounts of colloidal gold).
Iridescent glass is a deliberate effect (visually similar to the shimmering rainbow effect seen on the surface of soap bubbles, oil slicks, or fish scales). This is achieved by the introduction of metallic substances into the batch or by spraying the surface with stannous chloride or lead chloride and reheating it in a reducing atmosphere. On ancient glass, iridescence is caused by interference effects of light reflected from several layers of weathering products.
Iron can produce greens, iron and sulphur can produce ambers and browns, copper can produce light blues, cobalt produces very dark blue, manganese can produce shades of amethyst colour, tin can produce white, lead antimony can produce yellow and various metals produce reddish glasses.
A decolorizer is a substance (such as manganese dioxide or cerium oxide) used to remove or offset the greenish or brownish colour in glass that results from iron impurities in the batch or iron or other impurities in the pot or elsewhere in the production process.
The full article can be seen at the Corning Museum of Glass
Wednesday, 21 January 2009
Copper Foil Splits
Copper foil splits often occur at tight inside curves. This is caused by the inability of the copper to stretch enough at the edges to make it around in tact.
There are at least two ways to deal with copper foil splits: avoid them or repair them.
Avoidance
One way to avoid splits at tight inside curves is to hand foil pieces that have these curves. When folding the foil from the edge to the sides of the glass, gently and progressively ease the foil toward the sides of the glass with your fingers rather than a hard tool. Do not try to make the fold all at once. Give the foil the chance to stretch into the curve through gentle persuasion.
Another way to avoid the splits is to use several short strips of foil at the tight inside curve. Apply each strip from one side around the edge to the other side of the glass. Overlap each strip until the inside curve is covered. Then you can cover the whole curve in the normal way with the copper foil. When the piece is foiled, you can then take a craft knife and trim the overlapped foils to match the edge of the long strip of foil. Or you can just trim the overlapped foil pieces to match the rest of the foil. Be aware that this increases the space required between the glass pieces as the foil is now effectively twice the thickness of regularly applied foil.
Repair
To repair splits in the foil at tight inside curves that have been foiled along with the rest of the piece, you take small pieces of foil and overlap at the splits.
When tinning these repairs, you need to take care that the heat from the iron does not loosen the adhesive so much that the foil pieces move.
There are at least two ways to deal with copper foil splits: avoid them or repair them.
Avoidance
One way to avoid splits at tight inside curves is to hand foil pieces that have these curves. When folding the foil from the edge to the sides of the glass, gently and progressively ease the foil toward the sides of the glass with your fingers rather than a hard tool. Do not try to make the fold all at once. Give the foil the chance to stretch into the curve through gentle persuasion.
Another way to avoid the splits is to use several short strips of foil at the tight inside curve. Apply each strip from one side around the edge to the other side of the glass. Overlap each strip until the inside curve is covered. Then you can cover the whole curve in the normal way with the copper foil. When the piece is foiled, you can then take a craft knife and trim the overlapped foils to match the edge of the long strip of foil. Or you can just trim the overlapped foil pieces to match the rest of the foil. Be aware that this increases the space required between the glass pieces as the foil is now effectively twice the thickness of regularly applied foil.
Repair
To repair splits in the foil at tight inside curves that have been foiled along with the rest of the piece, you take small pieces of foil and overlap at the splits.
When tinning these repairs, you need to take care that the heat from the iron does not loosen the adhesive so much that the foil pieces move.
Tuesday, 20 January 2009
Copper Foil Adhesive
The only technical purpose the adhesive on copper foil serves is to hold the foil on the glass until it is soldered. It is not intended to, and will not hold the piece together. You shouldn't ever rely on it to hold the pieces together. The heat from the soldering breaks down the adhesive, as well as time and chemicals like glass cleaner and flux. If you think that burnishing it harder will seal it, you are mistaken.If your foil is pulling away from an edge, you need to build up the solder on the edge, add wire if necessary, or a perimeter metal of some sort.
If you have a piece of glass that is "slipping" out, you may be trying to hold up too much weight by the foil. Put a perimeter metal on and hang the piece from a solder joint that extends into the design.
If you have a piece of glass that is "slipping" out, you may be trying to hold up too much weight by the foil. Put a perimeter metal on and hang the piece from a solder joint that extends into the design.
Monday, 19 January 2009
Soldering Copper Foil
Tip size
Soldering copper foil is ideally done with a smaller tip than for leaded glass. A 3/16" long taper tip is useful. Use the tip on edge rather than the flat side in order to minimize the iron's contact with the glass. Thus, the iron is held almost vertical. Foil heats up very fast and too much heat can crack the glass so the narrower the iron contact is the lower the risk.
Solder application
The solder is applied in one of two ways. The quickest method is to feed solder in on the thicker part of the shiny tip and let it flow down to the foil. The iron is held against the foil and pulled along the foil (which has been fluxed) at the rate that allows the solder being fed to the iron to produce a slightly rounded, shiny solder bead. Don't try and "float" the iron on top of the solder, be firmly down against the foil. This requires practice to match the speed of movement and the amount of solder fed to the iron.
Alternatively, you can do the patting method. This is easier to control and is done by soldering one tip-length, lifting the iron and soldering the next tip-length, barely re-heating the section just soldered.
Another variation is to place blobs of solder at regular intervals along the foiled and fluxed joint and then move the iron along the joint melting the blobs as you go. This avoids the tide marks at the cooling ends of the solder bead.
Soldering copper foil is ideally done with a smaller tip than for leaded glass. A 3/16" long taper tip is useful. Use the tip on edge rather than the flat side in order to minimize the iron's contact with the glass. Thus, the iron is held almost vertical. Foil heats up very fast and too much heat can crack the glass so the narrower the iron contact is the lower the risk.
Solder application
The solder is applied in one of two ways. The quickest method is to feed solder in on the thicker part of the shiny tip and let it flow down to the foil. The iron is held against the foil and pulled along the foil (which has been fluxed) at the rate that allows the solder being fed to the iron to produce a slightly rounded, shiny solder bead. Don't try and "float" the iron on top of the solder, be firmly down against the foil. This requires practice to match the speed of movement and the amount of solder fed to the iron.
Alternatively, you can do the patting method. This is easier to control and is done by soldering one tip-length, lifting the iron and soldering the next tip-length, barely re-heating the section just soldered.
Another variation is to place blobs of solder at regular intervals along the foiled and fluxed joint and then move the iron along the joint melting the blobs as you go. This avoids the tide marks at the cooling ends of the solder bead.
Wednesday, 14 January 2009
Reinforcement Materials and Methods
Variations in Reinforcement Materials and Methods
Be aware that every reinforcement situation is likely to vary. This is even more prevalent today with stained glass being more utilised in conditions which present varied structural situations.
External steel bars
There are many methods employed to provide reinforcement and a variety of mounting procedures. Surface reinforcement is probably best accomplished with flat cold-rolled galvanized steel bars either 3/8" or 1/2" in width by 1/8" thick. Since they are directly affixed to the solder joints of the section they disperse greater reinforcement than with 14 gauge copper tie wires attached to round or square bars which tend to stretch and consequently result in buckling from the sagging of the section.
Steels
Internal flat steel bars incorporated within the heart of the came are also of excellent service, especially in vertical instances. Horizontally they provide lateral reinforcement but likely no vertical resistance to sag.
Saddle bars
These are normally round or square steel bars that span the opening. The panel is inserted into the opening and blocked into place. The saddle bars are placed in the slots prepared in the sides or top and bottom of the opening, and the copper ties already soldered to the panel’s joints are twisted round the bar.
T bars
These are “T” shaped bars attached to the sides of the opening with the leg of the “T” facing outwards, The panel is supported by resting on the horizontal portion of the “T”. It is then fixed into place and cemented. These bars are normally made of alloys that do not corrode easily.
Be aware that every reinforcement situation is likely to vary. This is even more prevalent today with stained glass being more utilised in conditions which present varied structural situations.
External steel bars
There are many methods employed to provide reinforcement and a variety of mounting procedures. Surface reinforcement is probably best accomplished with flat cold-rolled galvanized steel bars either 3/8" or 1/2" in width by 1/8" thick. Since they are directly affixed to the solder joints of the section they disperse greater reinforcement than with 14 gauge copper tie wires attached to round or square bars which tend to stretch and consequently result in buckling from the sagging of the section.
Steels
Internal flat steel bars incorporated within the heart of the came are also of excellent service, especially in vertical instances. Horizontally they provide lateral reinforcement but likely no vertical resistance to sag.
Saddle bars
These are normally round or square steel bars that span the opening. The panel is inserted into the opening and blocked into place. The saddle bars are placed in the slots prepared in the sides or top and bottom of the opening, and the copper ties already soldered to the panel’s joints are twisted round the bar.
T bars
These are “T” shaped bars attached to the sides of the opening with the leg of the “T” facing outwards, The panel is supported by resting on the horizontal portion of the “T”. It is then fixed into place and cemented. These bars are normally made of alloys that do not corrode easily.
Wednesday, 7 January 2009
The Negotiating Framework for an Exhibition, 3
Proposals and Agreement
Make a proposal
Once you've had a chance to assess each other's position, you're ready for proposals and suggestions to be made. Mindful of how you have prioritised your list of 'achievements' you can start to 'trade', all the time looking for opportunities to offer things that are 'cheap' for one party but that are of real value to the other.
For example, a local authority or academic gallery that has an in-house photographer could offer the artist high-quality visual documentation of their exhibition that would otherwise cost the artist large amounts. An artist may offer to recommend the gallery as a good venue to peer artists in other areas or countries, to support the gallery's 'talent spotting' aspirations.
Trading and bargaining
After this period of exploration and testing, the trading and bargaining begins in earnest. Don't assume however, that this all has to happen at once, as you may do the testing and proposal-making some weeks or days before you sit down to bargain and finalise the arrangement. In general terms, ask for more than you expect to get and don't concede too much at the beginning because you've reduced your subsequent bargaining 'chips'.
In face-to-face discussions, be aware that body language speaks volumes - leaning back and folding your arms sends a signal that you're 'closed to discussion', whilst keeping eye contact and maintaining a normal sitting position says the reverse. It is an important to listen actively, to concentrate on what the other party is saying rather than waiting for them to finish so you can jump in and make your own points. Don't always feel obliged to bring in 'new' material when you speak, you can instead summarise what has been discussed as a way of 'buying time' to decide your next move. Silence is OK too, providing time to gather thoughts for another intervention.
Nowadays, negotiation is often done via email or telephone. It's better to avoid making curt or aggressive comments that can tend to turn a collaborative negotiation into a confrontational one. Don't reply to emails or unexpected telephone calls 'off the cuff'. Always refer to the paperwork or notes from previous communications.
An agreement cannot be reached until the parties get to a position they can both 'live with'. As a matter of course, this is generally somewhere between their respective starting points. Neither party should afterwards feel they were 'backed into a corner' or browbeaten into finalising the negotiation. If someone is pressing you to agree now it's usually because they will get more out of the arrangement than you will. So best not to.
When you've reached an agreement, write up your notes as a letter noting all the areas of agreement and send to the other party, asking them to confirm by signing, dating and returning to you a second copy that you have provided. Either artist or exhibition organiser can write up the agreement.
Susan Jones (used with permission)
Make a proposal
Once you've had a chance to assess each other's position, you're ready for proposals and suggestions to be made. Mindful of how you have prioritised your list of 'achievements' you can start to 'trade', all the time looking for opportunities to offer things that are 'cheap' for one party but that are of real value to the other.
For example, a local authority or academic gallery that has an in-house photographer could offer the artist high-quality visual documentation of their exhibition that would otherwise cost the artist large amounts. An artist may offer to recommend the gallery as a good venue to peer artists in other areas or countries, to support the gallery's 'talent spotting' aspirations.
Trading and bargaining
After this period of exploration and testing, the trading and bargaining begins in earnest. Don't assume however, that this all has to happen at once, as you may do the testing and proposal-making some weeks or days before you sit down to bargain and finalise the arrangement. In general terms, ask for more than you expect to get and don't concede too much at the beginning because you've reduced your subsequent bargaining 'chips'.
In face-to-face discussions, be aware that body language speaks volumes - leaning back and folding your arms sends a signal that you're 'closed to discussion', whilst keeping eye contact and maintaining a normal sitting position says the reverse. It is an important to listen actively, to concentrate on what the other party is saying rather than waiting for them to finish so you can jump in and make your own points. Don't always feel obliged to bring in 'new' material when you speak, you can instead summarise what has been discussed as a way of 'buying time' to decide your next move. Silence is OK too, providing time to gather thoughts for another intervention.
Nowadays, negotiation is often done via email or telephone. It's better to avoid making curt or aggressive comments that can tend to turn a collaborative negotiation into a confrontational one. Don't reply to emails or unexpected telephone calls 'off the cuff'. Always refer to the paperwork or notes from previous communications.
An agreement cannot be reached until the parties get to a position they can both 'live with'. As a matter of course, this is generally somewhere between their respective starting points. Neither party should afterwards feel they were 'backed into a corner' or browbeaten into finalising the negotiation. If someone is pressing you to agree now it's usually because they will get more out of the arrangement than you will. So best not to.
When you've reached an agreement, write up your notes as a letter noting all the areas of agreement and send to the other party, asking them to confirm by signing, dating and returning to you a second copy that you have provided. Either artist or exhibition organiser can write up the agreement.
Susan Jones (used with permission)
Tuesday, 6 January 2009
The Negotiating Framework for an Exhibition, 2
Beginnings
The opening
The first phase of a collaborative negotiation on an exhibition involves gathering as much information as possible, preferably well in advance of any meeting.
What do you want to achieve?
Before you start a negotiation, set out for yourself on paper what you want to achieve from the exhibition opportunity in terms of:
The opening
The first phase of a collaborative negotiation on an exhibition involves gathering as much information as possible, preferably well in advance of any meeting.
- Artists - research the gallery, how it programmes, what its current interests are, which other galleries 'look to' that one because they are good at picking interesting artists, etc.
- Gallery - research the artist, the context for their work, their peer network, their other projects, etc.
What do you want to achieve?
Before you start a negotiation, set out for yourself on paper what you want to achieve from the exhibition opportunity in terms of:
- Things you must achieve
- Things you intend to achieve
- Things you'd like to achieve
Discuss and explore
The first meeting provides an opportunity for artists and exhibition organiser to explore each other's needs, start to create a relationship and as part of this, for each to make tentative offers. Avoid stating your own preferences and ideas and instead use 'open questions' that create a space in which ideas can be explored, for example:
- What do you think about...?
- Is there something you'd like to suggest?
- From your experience, what do you find works well...?
- What other options could we look at?
Susan Jones (used with permission)
Monday, 5 January 2009
The Negotiating Framework for an Exhibition, 1
Introduction
In the world outside the arts, when someone offers something - a house for sale, a job, work from a trades person, a proposal of marriage even. This is generally the opening gambit in a negotiation process by which what has been offered will be discussed and in the process, either adjusted to create something of mutual benefit, or declined. But in the visual arts there is a tendency for the offer of an exhibition by a gallery to an artist to be taken at face value and either accepted or rejected. This doesn’t need to be so.
The intention here is to set out a mechanism for a collaborative negotiation. Through this the artist and gallery can share their respective aspirations and intentions for a proposed exhibition, and negotiate in order to arrive at a 'win-win' situation. One in which both feel comfortable about what has been agreed because they will both benefit. Importantly, they have also created a working relationship that can be built on in the future.
A collaborative negotiation is preferable to a competitive one where the parties are essentially out to get the best for themselves regardless of the wider implications. An unhappy relationship between artist and gallery tends to ricochet around the art world and does neither any good in the longer term.
Anyone inexperienced in negotiation techniques should get some professional guidance in advance. Artists could do this by contacting a training or professional development organisation. An arts organiser might ask for coaching from a line manager or senior colleague.
Susan Jones (used with permission)
In the world outside the arts, when someone offers something - a house for sale, a job, work from a trades person, a proposal of marriage even. This is generally the opening gambit in a negotiation process by which what has been offered will be discussed and in the process, either adjusted to create something of mutual benefit, or declined. But in the visual arts there is a tendency for the offer of an exhibition by a gallery to an artist to be taken at face value and either accepted or rejected. This doesn’t need to be so.
The intention here is to set out a mechanism for a collaborative negotiation. Through this the artist and gallery can share their respective aspirations and intentions for a proposed exhibition, and negotiate in order to arrive at a 'win-win' situation. One in which both feel comfortable about what has been agreed because they will both benefit. Importantly, they have also created a working relationship that can be built on in the future.
A collaborative negotiation is preferable to a competitive one where the parties are essentially out to get the best for themselves regardless of the wider implications. An unhappy relationship between artist and gallery tends to ricochet around the art world and does neither any good in the longer term.
Anyone inexperienced in negotiation techniques should get some professional guidance in advance. Artists could do this by contacting a training or professional development organisation. An arts organiser might ask for coaching from a line manager or senior colleague.
Susan Jones (used with permission)
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