Graduate Seminar Professional Practices
Communicating with your Audiance

Art and Technology - Art 895

Syllabus Art 895 Graduate Seminar

(Prerequisite: Graduate Standing in the Department of art and permission of instructor) 2 units

Instructor, Ken Rinaldo, Associate Professor of Art, Art & Technology

Office: 240 Hopkins Hall, hours by appointment

Class Meeting Time: Tuesday Evening 5:30-7:18~8:18

Location and Lab:

Haskett Hall 308 New Media Robotics Lab.
Class will meet in this lab, unless otherwise specified.

Course Objectives and Procedures

This course explores the spectrum of art worlds within a broader art world; Artists engage many social spheres as a means of artistic and financial survival. Professional gallery artist, museum artist, public commissions artist, academic/professor and festival artist are just a few of the communities many of us identify with and survive within.

In this course we will look at and discuss strategies to identify and connect with the art world/s communities of your choice.

As part of this course, each student will create 1-2 proposals to present or create works of art as individual, or team and class members and professionals in the field will critique and help class members polish and refine their proposal through presentation and discussion.

Class members will further refine their "art image" and marketing materials to better access and find success in the various art worlds discussed.

Faculty members and professionals who occupy and excel in a few of art world communities discussed will offer their wisdom to the class members through lectures and critique.

Each graduate student will:

a) Write about your work

b) Sketch your work/model your work

c) Market your work

d) Publicly speak about your work.

e) Create materials and presentations that best describe your work.

f) Develop an effective strategy for success in your chosen area/s of focus.


Each class member will submit his or her work to not less than 1-2 funding agencies, publications, exhibition, job applications, or competitions of their choice.

Class Structure:

Materials and venues that each student proposes to apply to will be analyzed by the class and an effective strategy will be developed.

The class will be organized as a corporation/collective where each class member will be serving other class members in terms of their respective expertise. All class members will work together to reify and polish class members presentations for the respective areas that you choose to focus on. This will require that class members stay up with assignments and proposals.


Each graduate student has been granted a budget of $150 by the Department of Art, for applications and proposals including printing costs.

*Graduates from Art and Tech and Photo in particular are asked to share their studio access to printers and lighting/photo equipment and grads in other areas are asked to resciprocate with hours in your respective expertise.

Schedule overview


  • Class introductions professor/graduate students. area, prime research and year in program and where you intend to go after your MFA Graduation. Send me a link to your website if you have one.

    Defining the various art worlds.

    A few would be:

    • Professional gallery artist
    • Museum artist
    • Public commissions artist
    • Academic/professor or variant of any of these.
    • Artist in residence

      What are some others? Which ones do you resonate with?

      Class excercise: Affiliate with a group consisting of your choosing, of which you have experience: Go away for 1/2 hour and come back with your known tested and new strategies you have discussed, to access these worlds. Keep a written log to leave with professor.

      Group comes back and collectivly shares ideas with class.
    • Professional gallery artist:

      Key concepts and concerns: Support through sales/commissions. Question: How can I have an art gallery career?

      Types: commercial gallery, private gallery, self representation, non profit and coop galleries, academic, etsy, commissions, finding respresentation. Critical question: What do galleries want?
    • Museum/festival/faires artist:

      Key concepts and concerns. Question how do you develop a museum/festival reputation for your practice? Primary issues, common collectability, collectability with new materials, longevity, does work fit expected forms? Negotiatiating with curators, getting invitations, applying to festivals, visualizations, marketing to museums?
    • Public commissions artist:

      Key concepts and concerns: Sources for commissions, procedures for getting commissions, financing works, creating realistic budgets, visualizations, negotiations.
    • Academic/professor Artist in residence, or variant of the above

      Key concepts and concerns; CV, presentation, web page, authoring papers, publishing papers, presenting in academic conferences,
  • What specialties: digital capabilities, web, printing, photo, etc graduate student questionaire.

    Homework for this coming tuesday: 1) Come prepared with 3-4 possible shows, competitions, galleries, university jobs, (links) etc you will apply to and be prepared to discuss why.

    2) Come prepared with 10 web links of artists/curators that you follow or find resonant with your practice as a fine artist and show us for 5 minutes. Identify your top choices and tell us why.

    This schedule is subject to change -


Graduate student presentations: Propose to the class which organizations, residencies, exhibitions or faculty positions you will be applying to. (five minutes per student presentation.

Discussion: Class brainstorming session to suggest methods to optimize the application 5 minutes per student.

Discussion of decoding the applications and the subtexts of what you read.

Homework: Come prepared with a detailed plan to create a winning appliction/art image.

Send me via email the 2-3 opportunties you will be applying to.


Questions and frames of reference: What is best format and presentation for your work? What is the context in which you are showing your work?

How might this influence the presentation of your work?

Who is your audiance? Again who is your audiance? This is the critical and key question you must ask each and every time you present your work.

What makes for a compelling story/artwork? Discussion.

How does story influence our perception of the work and the artist? Examples (movies about Banksy, Pollack or films about artists) Caveat: The documentation is not the art though it can influence how we see and understand the art and work of artists.

What makes a compelling photo?
Discussion of 3 point lighting system. Using backrounds. Capturing faces and crowds in your photos. Documentation at opening. Shots both with and without humans. Photoshop retouching.

What makes a compelling video?
Examples: Doo Sung Yoo, Ken Rinaldo Paparazzi Bots. Discuss strategies and methods. Multiple cameras, cinamatography. Shots moving the camera in and out of focus, pan shots, framing Adobe aftereffects for titling.

(Wide Shot) Shows the whole object or subject.
(Close Up) Shows a feature of the subject or object.
(Very Wide Shot) Shows the object or subject's environment.
Transition shots: in a sequence spliced with transisitoin shots you pull your film together.

How do you write about your work? What is compelling about your work or your story?

How do you speak about your work?

*What other inovative ways can you imagine to get your work out there that are more unconventional?

Homework: Continue to prepare your proposals in preparation for in class review.



  • Creating visualizations for curators / styles. Hand drawn vs 3D. Mockups and rapid prototyping of installations.

    Vito Acconci
    Ken Rinaldo
    Todd Slaughter
    Brian Goggin
    Malcolm Cochran and Private Passage by Malcolm for Clinton Cove Park
    Sabrina Raaf
    Ann Hamilton

    Examples of visualizations from the Paparazzi Bots and Face Music Project out of Toronto for Nuit Blanche.

    Good project proposals include: Organized ideas that are well written about, conceptually creative works that support and reflect an awareness of the "site" and "environment" in which the works is being proposed for, logistical foresight, how the work relates to the field, how the work will enhance the funding agencies goals and your own goals.
  • Creating budgets for Public commissions, festival budgets etc.
  • Breaking down costs into catagories
  • Using excel to create budgets: Material costs, labor costs, installation, tear-down, movement if a traveling exhibit, building crates. Expenses related to maintenance, upkeep, and any related purchases necessary for public exhibition.
  • Example budgets from Contracts.
  • Writing grants Betha Grant Examples, other grant examples.

    Jerry Gorovoy and Germano Celant: Remembering Louise
    Lambert Family Lecture
    Tue, Apr 26, 2011 | 7:00PM

    Jerry Gorovoy was artist Louise Bourgeois's assistant, collaborator, and friend. Noted critic and curator Germano Celant, former senior curator of contemporary art at the Solomon R. Guggenheim Museum in New York, organized Bourgeois's final exhibition before she passed away in May 2010.


  • Developing fair contracts for the artist with examples.
    Examples of contracts.

    The Technical rider...what is it? Way to begin negotiation.
  • Hand out general contract and links:
    Art Office Business Letters
    Art Marketing 101
  • Writing contracts for artists for public commissions.
  • Negotiating with curators to be paid. The assumptive tone about budgets. What you can reasonably expect.
  • Shipping nationally and internationally.
  • Carnet and temporary import bonds.
  • Finding a shipper and establishing a bond.
  • Building crates and what is legal and what is not.

    Class ends at 7:30


  • Academic worlds (The Process) Your application package, your reel, your work and website, the short list of phone interviews, the short list of 3 candidates.
  • Preparation of your package. Your work. Your students work. Your CV.
  • Phone interviews skills and careful listening.
  • The short list and how to be sure you are on the list.
  • Getting the job and negotiation techniques.
  • Interview skills (interpersonal skills for interviewing, verbal and non verbal skills, how to dress, what to bring, the dinner, the campus visit, supporting documentation, supporting web presence.
  • Mock interviews in class.
  • Sample questions will be shared and represent the kind of questions you will be answering.


  • Guest speakers: Museum and public commissions and gallery art worlds speaker.

    Professor Ann Hamilton (May 17) 5:30

    Ann Hamilton will give a presentation on the nature of her studio practice.
  • Students propose their new work:
  • Chair Professor Sergio Soave and Professor Michael Mercil are part of review panel designed to highlight and to offer constructive feedback on graduate proposals.
  • 8 students present their proposals and class offers feedback. 6 minutes to present 4 for feedback and critique.
  • break
  • 7 students present their proposals and class offers feedback. 6 minutes to present 4 minutes for feedback.

    Propose a new work of art with sketches, drawings, models or mockups and submit that piece to a necessary competition for funding.

    Strategies for presenting work to potential funding entities and help graduates research and identify funding sources and alternative ways of getting project done.


  • Remaining review of proposals for continued refinement of your proposals and your artists brand.
    Review and feedback on websites
    Review of Statement


Interactive Electronics for Artists and Inventors

Krannich, Ron and Caryl (2003), The Job Hunting Guide: Transitioning from College to Career. Manassas Park, VA: Impact Publishing.

The Interventionists Users Manual for the Creative Disruption of Everyday Life Editied by Thompson and Sholette

Liberatori, Ellen (2006). Chapter 2: Preparation for Grantseeking, in Guide to getting grants. New York: Allworth Press.

Locke, Lawrence F., Spirduso, Waneen Wyrick, Silverman, Stephen J. (Eds.) (2000). Proposals That Work: A Guide For Planning Dissertations And Grant Proposals (4th Ed.). Thousand Oaks, CA: Sage Publications.

Chapter 8: Money for Research: How to Ask for Help (pp. 149-172)

Chapter 10: Preparation of the Grant Proposal (pp. 181-200)

Maisel, Eric (1992). A Life in the Arts: Practical Guidance and Inspriation for Creative and Performing Artists. New York: G. P. Putnam Books. ISBN 0-87477-766-6
The Business of Art (pp. 101-128)

Laurel, Brenda (2001). Utopian Entrepreneur. Cambridge, MA: MIT Press.

Professional Orgs

Art & Technology, Media Arts, Intermedia

ASCII Art and Science Collaboration

YLEM Artists Using Science and Technology

Leonardo Magazine


The National Council on Education for the Ceramic Arts

Italian Ceramic Society

The Ontario Clay and Glass Association

National Association of Ceramics

The American Ceramic Society

The Australian Ceramic Society

Ceramics Today

Studio Pottery

American Ceramics Society

Kohler Arts Center


The Ontario Clay and Glass Association


International Commission on Glass

Stained Glass Association of America

Glass Axis Columbus

Art Glass Association


American Society of Photographers

American Society of Picture Professionals

American Photographic Artists

Woman in Photography Organization

Photographic Society of America

Painting and Drawing

Ohio Arts Council


Largest print organization in North America

International Print Center NY

Print Interesting Montreal

Southern Graphics Council

Mid America Print Council

American Print Alliance

Amity Art Foundation

Estonian Printmakers

California Society of Printmakers

Chicago Printmakers Association

Edinburgh Printmakers

Inkteraction: International Printmakers Network

Greenwich Printmakers

Highpoint Crnter for Printmaking

Los Angelas Print Society

Printmaking Center of New Jersey

Spanish Printmakers Collective



International Sculpture Center

Center for Metal Arts

Association of Sculptures of Victoria

Sculptures Society of Canada

Washington Sculptures Organization

TriState Sculptures Organization

The Sculptors Society

The Sculptors Dominion International

Sculptors Guild

National Sculpture Society


Exhibitions, conferences, residencies

Art & Technology, Media Arts, Intermedia

AIM: Art In Motion, University of Southern California, Los Angeles, CA; annual; time-based media.

Ars Electronica Austria annual; time-based media.

Boston Cyberarts

Art Futura, Spain; annual; digital technologies and new media.

Boston Cyber Arts Festival, Boston, MA; biennial; art and technology.

Japan Media Arts Festival

Transmedial Germany

DEAF, Rotterdam, Netherlands; bienniel; electronic art.

Electrofringe, Newcastle, Australia; annual; digital, electronic, and new media arts.

Elektra Festival, Montreal, Canada; annual; electronic music, digital imagery, and robotics.

EMAF, Osnabrücke, Germany; annual; media art.

ISEA Inter Society of Electronic Arts

VIDA Art and Artificial Life Spain

Sonar Media Arts Festival

Eastern State Penetentiary

CAA new media, film and video.

Lexington Art League

Art Rubicon


Museum of Fine Arts Houston

Harvest Works

Bemis Center for Contemporary Arts

Young Arts

Creative Capital


Eastern State Penetentiary

Spaces Cleveland

Fulbright Scholars Program

Ceramix Biennale

Fine Art Works Provincetown

Kohler Arts Center

Bemis Center for Contemporary Arts


Museum of Contemporary Photography

Anderson Ranch

Oregon Center for Photographic Arts

Spaces Cleveland

Photo Fest Organization

PostMasters gallery NY

Photo Lucida

SoHo Photo

Louisville Art Organization

Bemis Center for Contemporary Arts



Lexington Art League

College BookArt.Org

Center or

Spaces Cleveland

83 Gallery Short North

Creative Capital


Eastern State Penetentiary

Lexington Art League

Spaces Cleveland

PostMasters gallery NY

Fine Art Works Provincetown

Kohler Arts Center

Bemis Center for Contemporary Arts

Puffin Foundation

Womans Arts

Young Arts

Creative Capital




Students with Special Needs/Disabilities: If you need an accommodation based on the impact of a disability, you should contact me to arrange an appointment as soon as possible.
I rely on the Office of Disability Services for assistance in verifying the need for accommodations and developing accommodation strategies.
If you have not previously contacted the Office for Disability Services (292-3307), I encourage you to do so.

Copyright Ken Rinaldo | Art & Technology | Department of Art | The Ohio State University