Professional packet

Professional Portfolio Packet

For the purposes of self promotion, you are to create a professional packet that will require you to create a series of documents that all professional artists must have available. You will produce a short biography/long biography, an artist statement and a curriculum vita (CV). You will submit drafts of these documents to me, receive feedback and comments, and then revise and finalize your documents. Your packet should be portable, professional, and can be easily modified as your work continues to develop. 

You will need to package this information in a way that makes sense with your work.  Perhaps a pamphlet, book, CD or even a small format wearable. Be creative.

Your professional packet should be graphically current and be broad enough to send out to numerous applications/galleries/opportunities. It should all be dialed in.  

For me: The packet should include a short bio, your CV, your finalized artist statement and images of your work. I want a hard copy and a digital copy.  

Bios:

Jamie Bennett is Professor Emeritus of the State University of New York at New Paltz where he taught from 1985-2014. Bennett is the recipient of numerous awards and honors including three National Endowment for the Arts Individual Fellowships, three New York Foundation for the Arts Fellowships and he is a Fellow of the American Crafts Council.   He also received a Windgate Foundation Grant and Rotasa Grant in 2005 supporting a traveling retrospective of his work to museums across the US from 2007-2010. One of the pre-eminent enamellists in the world, Jamie’s work is known for its innovative use of color and deep engagement of material and process. His participation in many pioneering exhibitions such as American Masters at the Victoria and Albert Museum; Jewellery Moves at the National Museum of Scotland; New Times, New Thinking Jewellery in Europe and America at the National Museum of Whales underscore his influence and impact in contemporary jewelry.

Lola Brooks began her arts education at Pratt Institute and then went on to study with Jamie Bennett and Myra Mimlitsch-Gray at SUNY New Paltz. In 1996 Lola was included in the Talente exhibition in Munich and since then has participated in many gallery and museum shows around the country including Sparkle then Fade at the Tacoma Art Museum, Tacoma, Washington. Lola’s use of stainless steel drives the conceptual content of the work and her underlying interest in material hierarchies. The Recipient of the Sienna Gallery Emerging Artist Award in 2002, Lola’s work has been reviewed and/or included in many publications including four of the Lark Books jewelry series; American Craft, Metalsmith, Out, W, Vogue and BlackBook magazines. Lola teaches at Rhode Island School of Design, and University of the Arts in Philadelphia. She has also taught at SUNY New Paltz, Penland School of Crafts in North Carolina, Haystack Mountain School of Crafts, and the 92nd Street Y in New York City.  Her work can be found in the collections of the Samuel Dorsky Museum, New Paltz, NY, the Racine Museum of Art, Racine, Wisconsin, the Museum of Art and Design, NYC as well as the Metropolitan Museum of Art, NYC. In 2012 a piece from her most recent series, Charted Territories, was acquired by the  Yale Gallery of Art, Yale University, New Haven CT.

Simon Cottrell is an Australian artist based in Canberra. In 1997 he completed a Bachelor of Fine Arts, with Honours in Gold and Silversmithing at the Royal Melbourne Institute of Technology (RMIT) . In 2005 he was awarded an RMIT University Scholarship for a Master of Arts by Research. He has been teaching since 2001 and is currently a Lecturer and Researcher at the Australian National University, and has also been invited to teaching workshops, giving seminars and lectures at institutions around the world. Since 1996 he has exhibited extensively in over 120 exhibitions, in Australia, New Zealand, USA, Germany, Japan, The Netherlands, Malaysia, France, Canada, Italy, India, Spain and China.

In 2008 he received an Australia Council New Work Grant for a three month Residency in NYC for personal research into the parallels between the role that the passage of time has in the creation of intuitive structural growth within both musical and tangible form. In 2009 he took part in an artist residency with Atelier Ted Noten, in the ‘Redlight Design Project’ in Amsterdam and in 2010. In 2011 he received an Australia Council New Work Grant; to explore the inter-relationships between computer aided design and manufactured elements on processes on intuitive manual making.

Gésine Hackenberg lives and works in Amsterdam, The Netherlands. She was trained as a goldsmith in Germany and studied jewelry design at the former Fachhochschule für Gestaltung Pforzheim in Germany. In 2001 she received her degree from the Gerrit Rietveld Academie in Amsterdam and in 2013 her Master of Arts from the MAD-faculty in Hasselt, Belgium. She is currently Professor at the MAD-faculty and, since 2008, has taught technical metalsmithing classes at the VakschoolEdelsmeden in Amsterdam. She has been the recipient of three grants from The Netherlands Foundation for Visual Arts, Design, and Architecture, as well as other awards such as the Scholarship for Modern Silver by the Stokroos Foundation in 2010. Her work is published in numerous international publications and included in museums collections.

Artist statements:

Jamie Bennett

For some time I have been interested in how various cultures portray nature as an explanation of beauty. How nature is mediated by ornamentation and aestheticized continues to hold my interest. Particularly in jewelry, which is my primary format, interpretations of beauty seem to be intractable. My own interest in this subject has evolved and what I seek to characterize as beauty has shifted from an integrated ornamental condition to a more incidental bodily appearance, which I believe matters, thus the title for this series.  These works are intended as topographies of sorts, skin like, land like, amalgams that are taken from the body and brought back to the body. I use the word body here both as a euphemism and actually. The materials I choose are critical to the physical character of the work and the resulting experience for the viewer. How things appear to us are the result of our value systems, and I am interested in representing what I value.

Lucy Sarneel

My work arises from the field of tension between the inspiring past and the untouchable present that is created by traditions and spiritual, symbolic values.

For some time my work has developed towards the idea of a jewel considered as a power-object and patron, as a counterpart of the high-tech, time-efficient, money-ruled world we live in.
The “carrying material“ of my work is zinc, representing the blue-grey sky and sea, the subconscious, dreaming away in the distance, the reassuring domestic world of rainpipes, buckets and washtubs, architectural “jewels” like little towers and dormer windows in old European cities and the protective quality of preventing steel from rusting.

I am looking for fields of tension, both in form and material as a metaphor for life in the quest for balance between forces which we are governed by.

Melanie Bilenker

The Victorians kept lockets of hair and miniature portraits painted with ground hair and pigment to secure the memory of a lost love. In much the same way, I secure my memories through photographic images rendered in lines of my own hair, the physical remnants. I do not reproduce events, but quiet minutes, the mundane, the domestic, the ordinary moments.

Raissa Bump

My newest work is about a specific shape that recurs over and over again in my life—an alignment that is too numbered to not pay attention to. Scallops in the clouds or mountain peaks or in the waves rolling in, scalloped patterns in the beaded dress & purse or in architectural details & sacred geometry. Always pleasing to my eye, there is consistency and understanding, comfort and recognition in these permutations. I do not seek them out, yet over and over I see, read and listen to variations on this theme. Many of these recurrences and concurrences collide in this exhibition — quilted memories of things, places and people over time. Each work encompasses all of a piece of this story.