ROMAN STOLLENWERK: Thank you for joining us on today's program,
presented as part of the Wignall Museum's Home Edition,
a series of curated artist talks, workshops,
and discussions, featuring artists and cultural workers.
My name is Roman Stollenwerk.
I'm the assistant curator at the Wignall Museum.
The Wignall Museum is a teaching museum
and interdisciplinary art space that introduces Chaffey College
students, faculty, staff, and community members
to innovative contemporary art objects and ideas.
By fostering critical thinking, visual literacy, discourse,
and empathy, the Wignall Museum seeks
to enhance the intellectual and cultural life of our community.
We want to take a moment to recognize that we are situated
on the Rancho Cucamonga campus at Chaffey College, which
resides on the traditional and unceded lands of the Tongva
people.
We offer our respect to the elders past, present,
and future.
Thank you very much.
We'll go ahead and get started.
PROFESSOR LETA MING: I'm glad you're able to join us today.
And I wanted to introduce the SI, how
it's been in the past, what we're envisioning
for this year, and to give you some overview
of the application process, which is also a little bit
different, because it's all virtual.
So the SI--
Roman will show us some images of last year's course.
The students who are on the call, what
do you know about SI, so far?
Can you unmute yourselves and give me
a sense for what you already know about the program?
AUDIENCE: OK.
As far as I am concerned, I understand it
as an opportunity to make a body of work
over the span of a semester.
And then to share it.
PROFESSOR LETA MING: Yes, exactly.
OK, so it's a new body of work.
And Amanda, did you have something else
you wanted to share?
AUDIENCE: Yeah.
I just understood that it's a way we can express ourselves,
using the Wignall Museum to better shape our future career,
I think.
PROFESSOR LETA MING: Yes, OK.
That's a good way to think about it, too.
AUDIENCE: OK.
PROFESSOR LETA MING: So, right.
So the idea is that students will come up
with an entire new body of work, meaning a new project,
and depending on what medium you're working in,
like what are you guys working in?
AUDIENCE: Mainly, I work with pencil
or I'll work with colored pencil.
I work with paint a little bit.
AUDIENCE: For me, while I do work in more than one medium,
I really do like photography the most, right now.
PROFESSOR LETA MING: OK.
So I also see Jennifer saying painting.
OK.
Just again, it gives me a sense for what kinds of work
that you might be making.
So you're going to come up with a new body of work, probably
in something that you already have some experience in.
But use this as an opportunity to experiment
and push yourself to do something that goes beyond what
you have done in the past.
And it might take the form of a series of paintings.
Like four paintings or a number of drawings.
Or it might be one very large project like one
large photo project, right?
Or we also have students who can make animations
or videos or ceramics.
And again, tends to be a group of things or one large project.
And then, yes, it's the opportunity
to show it in a professional museum show.
And the idea is that you would have experience
in getting to putting together a show, installing the show.
When we were in person-- now it's
going to be more getting experience
in creating a show online and also publicizing the show
and marketing the work, in a sense,
or distributing it virtually.
So there is a bit of the behind the scenes expertise
that's developed in taking this course.
And also, there's the development of the artist
and we work together to develop an artist's statement.
In other words, for you to be able to articulate what you're
doing in your practice and what you're doing,
specifically, in this work.
We could also start thinking about how you are presenting
yourself, in terms of your personal website,
or in terms of a resume or CV.
And this would also, again, be a show, yes,
that could go onto your list of accomplishments,
rated as being part of this professional exhibition.
So I wanted to turn to the previous year's exhibition
and take a look at some of the images with you
so you can see the work that some of your colleagues
have done in the past.
ROMAN STOLLENWERK: All right.
So this is our website, chaffey.edu/wignall
and the slide presentation from last year.
PROFESSOR LETA MING: So you can see
that the first student that we're showing right now,
Daisy Alarcon, she worked in ceramics.
And she made a series of six different plates that
were actually based on photos, personal photos of her
and of her father.
But then she painted them.
She didn't have access to a kiln.
So they were left in this state and with this sort
of underglaze.
So that's one example of an artist.
But you see how it's a group of six different images.
Some based on, again, images of her father's childhood
and some based on her own childhood.
And then, that's just one example.
Let's fast forward a little bit and look.
And then, this was a photo student, Abby Ramirez.
And she worked with a model to photograph these images
of various body parts.
And, of course, she manipulated the photos afterwards,
also in terms of some of the lighting.
And she intended it to be a specific installation
that we saw in that first image, where the various images would
be placed together on a wall.
Then this was a painter, Chamapet Tumantet.
He made a series of five paintings.
You see in that image, it was a kind of virtual installation.
Again, because we didn't actually
get to install this in a museum but there
are ways that we can show it virtually that
give the appearance of it being shown in the physical space.
And so he's worked in abstraction,
which he had not done before.
So this was, again, he's a painter,
but he really pushed himself, in terms of the subject matter,
and also in terms of the techniques.
Each one, he used a different type
of application of the paint and also
incorporated other elements.
Like you can see here, seashells and gold
leaf into the painting.
Here is another painter.
And you can see that this was actually, originally,
eight different panels that were intended to be placed together.
OK and if we see that image of all of them together--
so you can see the kind of project,
right, this would be a massive painting
when all put together that is more like a mural size,
8 by 10 feet.
So that's another sense.
OK.
Let's keep going to the next artist, then.
So does this give you a sense of the possibilities here?
Cassie Martinez and that previous artist's name
was John Duran.
This is Cassie Martinez.
She made a group of two photos.
These were life sized photos that
was done with a very special studio techniques and lighting,
but also then, was blown up to this really large size, which
is intended to be hung a wall like this.
The next artist, David Mere, he actually
made up a narrative or story that was intended
to be printed as photos.
These 12 prints that were going to be
arrayed on the wall and these images were made--
there is a multi-step process that
was involved in creating these, with creating
dioramas and taking photos and adding them
to these photos of individuals, figures, onto a setting,
and then adding text to them.
So this is another way that your project could come together
as more of a story.
But again, primarily, based on a photo practice.
And then we have the next artist, Sarah Park.
She made an installation based on cut up canvas.
So canvas that she painted and then cut
into these smaller oval-lettes and then
placed them in an installation on the floor.
So what we see here are images of the installation
that she made at her home.
And the next artist is also a painter.
Again, a series of paintings.
You can see in the way that we display it,
we show the larger painting and then
we also show the close up shots, so we can see,
because a lot of her practice was based
on this special technique.
Let me go to the next image, actually.
Using texture in the painting.
So that's a way we can also do some kind
of close ups and larger shots.
And let's go to the next artist, Jacob Scott, who
made a installation based-- he's primarily a ceramicist
but he also incorporated found objects in this installation
that he created, which will show up in a second.
But it's based created inside of a cabinet that he reconfigured
so that it could be a display cabinet, for both his ceramics,
as well as these objects.
So it'll pull up in a second.
Great.
This is kind of a nice view, too, you can see everything.
He, unfortunately, because of COVID, some of his objects
were taken to campus and meant to be fired.
But he couldn't get them out, so you
can see, he actually put some cardboard signs that say,
hostage to COVID.
He added a little humor to a unfortunate situation.
And I think-- is there one more, Roman?
A couple more.
Michael Torres.
So Michael works in animation and graphic animation.
And he designed this animation that
was going to be projected on the ceiling and on the walls
and this was going to be inside of a small room.
An installation that would engage the spectator who
would walk into the space.
So this is the way we showed it here.
Although, in the future if we were to do this,
we could also have a whole little video
or a little animation and link to that in the exhibition.
And I think the last work too, is another work
of graphic of an artist, Dasha Zommery, who
has a lot of training in graphic design
and thinks of herself as a designer.
She had also designed a larger installation
but what we show here are these specific posters that she made.
Yeah, so you can see some of her more graphics
of elements combining the text and the images.
OK.
So I just wanted to give you a flavor for the variety of work
that is possible in this exhibition.
And to give you a sense for what we mean by project.
So far, do you guys have any questions?
OK.
So should we go to the--
actually, one thing.
So in developing your project, what happens in the course,
is that some of the time is time spent doing research.
Based on what you initially propose,
I will work with you to push yourself to think about it
more deeply, in terms of what other artists in history
or contemporary artists have worked in that mode.
And so we do some research to push our ideas further
and to make sure you're in conversation
with the history of whatever kind
of project or subject or technique
that you're working on.
And then we also work on your own personal statement,
of like, what you're trying to do with your work,
but in terms of the course.
So you will have time to work on your project, studio time,
in a sense.
And you will also work with a faculty advisor
who has expertise in the particular field
that you're working.
So this is someone that you would choose and get
an agreement from the faculty member,
probably someone you've already taken a class with,
or have some kind of relationship with.
And they would help you more specifically with the work.
You would have someone working in photo, let's say, who
knows about photography and can really help you with the more
technical aspects of it.
And also some of the theoretical aspects.
I would be thinking more on the theory side and the history
side.
And so you wouldn't just be working with me,
but you would also be working with a faculty advisor or two,
if there's multiple people you want
to consult with in developing your project.
And then the third group of faculty members
that you would work with in this course is the Wignall staff.
So Roman and Rebecca, who are on the call now,
and Andy Hagel who is the installer and the preparator.
So he can help you learn how to make your own canvas, structure
on canvas, just an example.
Or talk to you about various techniques
for your sculptural techniques, let's say.
So in any case, the Wignall staff
is really a great resource for you in this course, as well.
And so that's the benefit of this class,
is you get all different types of expertise and knowledge,
in terms of thinking about exhibitions,
curatorial part of it, and how your work
works with a group of other works together.
I'm seeing some messages in the chat.
So in terms of the faculty advisor--
I'm just looking at questions that--
it's not required that you have a faculty advisor.
But it's highly advised and almost all students
do have, because there is someone who they can rely on,
who has more specific expertise in the medium
that they're working on.
And I see another question in the chat.
In case you were wondering, in terms of the campus access.
So right now, we have no guarantees of any access
at all to the facilities on campus.
So whatever project you propose, the idea
would be that you can complete it
in your space or whatever private spaces
that you have access to.
And you cannot guarantee, for example,
that you would have access to the labs, the photography labs,
the digital labs, or to the ceramics studio and the kilns
on campus.
ROMAN STOLLENWERK: And if you aren't familiar, sorry Leta,
Chaffey has been working very hard in studio
to have online resources.
So Andy, the preparator, is also the lab technician
for the studios here.
So they've been working on a lot of videos and tutorials
that explain online, hopefully.
So if you aren't familiar with the resources
and the digital hub that is on Canvas,
there are resources to help guide you as you work off site.
But, as Leta said, assume that you aren't
going to be working on site.
There are still people to help try and talk you
through things.
It's just the facilities, themselves.
So like I said, just check out, just to say it out loud,
check out the Canvas resources in the hub and stuff
to see-- there is support.
You aren't completely floundering.
PROFESSOR LETA MING: OK.
So why don't we turn to look at the application, which
is in a Canvas shell, meaning it's almost a course in Canvas.
And I'm putting in the chat now, the link to self enroll,
if you haven't already.
I know a couple of students have already done this.
When you click on that, it will ask you
whether you want to add this class.
You should say yes.
And you may have to log in to Canvas.
And once you do that, you will get to this page
that I will show you.
I'm going to share the screen.
So I hope that now-- is it showing up, the dashboard?
This is where, this Art 89 Student Invitational
Application, you can't fully see it here,
that's what this card is referring to.
So you would click--
see how it appears just like another course in your class?
And when you click on that, you would get to this home page
here.
And this explains all of the various steps.
So I did create a tutorial that walks you
through how to, technically, complete
the application on Canvas, which you can always refer back to.
But what I want to focus on more now
is the content of what we're expecting
in your proposal and your portfolio.
So the main three parts of the application, one
is just some contact information.
But two is that proposal of your new body of work
that we've been talking about.
And then three, just a portfolio,
meaning some backup of works that you've already
created to give us an idea of the kind of work that you do
and what you're capable of.
So in terms of the proposal, there is a page that's called,
what to write about in your proposal.
It's in here.
And let me spend a few minutes on this.
So this proposal is where you explain what
you think you're going to do.
And you're not bound to this.
You can change it once you come in the next spring semester,
but also as you're working, of course,
you may change your direction somewhat.
But it's good to get an idea planted in the ground.
And you will definitely use that in some way and go from there.
And so the proposal is made up of a text document.
You are going to explain what you're doing.
It might be a couple pages long, some students go longer.
And it's also going to have some types of a sketch or a study
or maybe some images of works or some kind of plan,
to give an idea of what the proposal is going to look like,
and how you envision that it's going to be displayed.
If it, indeed, needs a physical display.
That's not necessarily obvious.
OK.
So some of the works that I want you to cover in the written
part of your proposal are to just describe
your current work, including what
you submit in the proposal, and your approach to making art.
Like what's the point of your practice?
Why are you making art?
And then also to explain, why does
the work look the way it does?
So what is it about the mediums that you
chose or the materials or the techniques
that you use that make sense for you?
Why do you do it that way versus a different way?
And sometimes it helps to say if there
are some artists or other people who have inspired you.
That's kind of optional, but that sometimes
can help me to understand where you're coming from.
And if you can see some trends in your artwork
and where you see your work going
and you can see what you are interested in further exploring
with your work, that's essentially
what this proposal is going to be about.
Something that you want to push further
and explore and learn more about.
And so you're going to describe a little bit about your past
and then you're going to describe
what you're doing, what this new body of work looks like.
And when I say what it consists, of how many components would it
be, that refers to--
do you think it's going to be a series of four
different paintings?
Something like that.
Is there going to be a sound component?
And there's also going to be a visual kind of component.
And if you have some sense of the scale
or the duration, the dimensions, that's helpful.
And that's where it also can be helpful to have
a little diagram that says, OK, here
is where you're going to place one element.
And here is going to be another element, if that's relevant.
I know that our exhibition is going to be virtual,
but how do you envision it, ideally?
How would you, if you could do whatever you could,
real or virtual or not, thinking about how you envision
it being shown or displayed.
So the second part is to discuss the content
and themes of the work.
Again, this overlaps with what we've already talked about.
What's your work about?
What might have inspired it?
Does it relate to things you've already done?
And also, if you can think about,
is there other things going on in the art world
or in the regular social world that your work relates to?
Is it really connected to something that's current?
And finally, you want to think about,
what do you hope to achieve from making your work?
What's the point of it for yourself or for audiences?
What do you want people to get out of your work
once they've seen it?
OK.
You don't have to answer each of those questions
and each of them in that order I'm
trying to give you some suggested topics
to get you thinking and to try to come up
with a proposal that's substantive and as thorough
as you can make it.
I know, again, that you might not
know exactly what you're going to do,
but do your best to describe, at this point in time,
what you think you want to do.
And we all know that it may change.
And it will certainly change once we--
does that make sense?
Students on a call, are you feeling like you
know what you need to do?
OK.
AUDIENCE: Yeah, that really makes a lot of sense.
PROFESSOR LETA MING: OK.
And so additional tips, we do put down here, too, just
be honest about what you can do.
Just to yourself, too.
Don't propose something that is going
to be beyond what your skill set is or the amount of time
that you have to do the work, because it
is within a semester.
And we actually have to have things done
before the end of the semester.
And so you may only have four months or less to work on this.
And the other step is to, we want you to present yourself
the best you can.
So that means that we suggest that you
talk to another faculty member.
Again, someone who you might have worked with or you trust.
That helps.
Or if you don't have someone like that,
you can also talk to me and get some sort of feedback.
But especially, if it's someone you've already
worked with, taken a class with, who
works in your particular medium that you're proposing,
that would be a good person to consult.
OK.
So that's the what to write about in your proposal section.
And then let's talk about the portfolio part of it.
So for the portfolio, we're just looking for several works.
We write 5 to 10 here.
Works that demonstrate your ability
to complete the body of work outlined in the proposal.
So if you're proposing to that you're
going to make photographs, then it
would be good for you to submit some photographs that you've
done, even if they're very different from what
you're proposing for the new body of work.
And so, because again, we're all virtual,
you can't submit a physical thing.
In the past, we could look at somebody's pot, the ceramics,
and physically take them in.
Now we can't do that.
So everything is digital, which requires
that you are going to have to take a photograph of your work,
and we know that can be challenging.
And so I do want you to note that, A,
we're not expecting professional level photographs.
A snapshot or something taken from your phone
is perfectly fine.
That being said, there are some tips
for taking photographs at home.
This is something Roman put together that's in a document.
Anyway, you can download this and it just
gives you some tips for lighting and things
to improve for trying to photograph art
just from your phone in a regular, non-professional
space.
The other option is scanning.
There are these scanning apps you can download to your phone.
I put a couple suggestions here.
And they can be especially good for two dimensional work.
It helps eliminate some of the issues
with lighting and cropping.
So you might try that.
And otherwise, if you are doing a video or something
and it's really huge, and it's larger than 250 megabytes,
then you either save it as a smaller resolution
or you can provide a link to an outside site.
And I want to emphasize too, that you
want to put the caption on each of your portfolio items
that explains what it's called, even if it's untitled,
and the date of when you took it,
and the medium dimensions or duration.
OK.
Any thoughts on the portfolio?
Does anyone have any questions about this?
AUDIENCE: Yeah, I have one question.
When it comes to submitting the portfolio images,
are we allowed to put, for example,
multiple photographs in one JPEG?
Or do you want each JPEG to have one photograph?
PROFESSOR LETA MING: That's an interesting question.
Just depends how big you want us to see them.
If you squeeze them all into one JPEG,
we won't be able to see it as clearly, but it might be OK.
AUDIENCE: The reason I'm asking, is
because I wanted to submit a project per file.
I wanted to know if that was maybe too much
or if that was going to be against the rules.
PROFESSOR LETA MING: No.
No, don't worry.
Yeah, It's not necessarily against the rules.
If you have a particular project,
you mean with a series of photos in them?
Then you had another series you did and you--
that's fine.
You know what I might do--
do you go by Andre?
AUDIENCE: Yes, I go by Andre.
PROFESSOR LETA MING: I just don't want
to call you the wrong name.
Yeah, what I might suggest, is you
do a JPEG with the whole project, do a couple of those.
And then maybe also include one or two just single image,
selected from that larger, the collage one,
or that one that's collated.
Does that make sense?
AUDIENCE: Yeah, that makes sense.
If I'm understanding you correctly,
have the JPEG that has the entire project
and then have an example of like, maybe my favorite piece,
off to the side.
PROFESSOR LETA MING: Exactly.
AUDIENCE: OK.
Cool, cool.
That makes sense.
PROFESSOR LETA MING: Make it large, but basically,
we're getting the gist of it's part of the series.
AUDIENCE: Very cool.
Thank you.
PROFESSOR LETA MING: OK.
Any other thoughts?
Yes.
I know, I see a question in chat, too.
You don't need special equipment to take your photos.
Again, just use your phone.
If you don't have that, if you don't have a phone,
you may want to borrow one from a friend.
But otherwise, we're not expecting
special, professional photos.
OK.
So just going back to this main page.
So those things, that's it.
That's your application.
Those three parts.
Again, as I said, I made a video that
shows how to apply this tutorial, here.
It's actually a little Zoom video where
I walk through all the steps.
So I don't want to bore you with that right this moment,
but I want to point out some highlights, which
is there's this questionnaire.
You just fill out a couple of questions.
And that's pretty self-explanatory.
But then, this proposal and portfolio
are actually submitted in the same place.
And the place of that portfolio is in a new application, which
is integrated into Canvas.
So you don't have to do any additional log in,
but you have to click on that button, which
I showed you, which opens up a new page and a new app,
which is called Harmonize.
And the reason we decided to use this app
is because it's easier for you to upload photos into.
And so, again, that's what I walk
through in that tutorial that shows you how to use this
and exactly how to create it.
But what happens is, when you create a post,
you will include both your proposal and your portfolio,
here.
So one line you'll see in the tutorial
is going to be your portfolio.
So here is my portfolio, the text
that I wrote, and then there's this image.
I were Andre, I would have multiple images.
I mean, actually, I don't know what his proposal is.
So you might have multiple images for your proposal.
And then the line below would be all of the portfolio images.
So it is spilling onto a new row, here.
But these would be all portfolios.
So all of that is going to be shown in the same place.
Does that make sense?
AUDIENCE: Yes.
PROFESSOR LETA MING: OK.
AUDIENCE: Yes.
PROFESSOR LETA MING: OK.
Just want to make sure.
That's pretty much what I wanted to cover.
I think everyone is using Canvas now, because we're all online.
So hopefully, this won't feel too confusing to you.
But again, watch that tutorial to make sure you understand
how to use Harmonize.
And then if you have any questions also,
you can just contact me.
You see my email here.
Or you can call me or send me a text message.
I do suggest that you try to play around
with the application site before the due date.
And you plan in your head that it's all
going to be due the day before.
In case there is a problem, either with Canvas
or your internet or something, you have a little bit of time
to troubleshoot it.
I can help you.
Don't freak out.
We want you to be able to apply and we want you to succeed.
We're not trying to keep you out.
We want more students to apply.
We want students to have this opportunity.
So we can help you.
And yes, I'm seeing this question in the chat,
about the digital media staff.
I don't know anything about what the digital media staff can do.
But you can try to get Canvas help--
sometimes there's a wait to call Canvas.
But they're great if you get them on the phone.
I call Canvas all the time.
And the DE help desk, again, now because of COVID,
probably someone won't answer the phone.
But you can always email them.
Or there's this chat function in Canvas, which
can be also really helpful.
So I'm just saying, in terms of technical issues, that's
where I would go.
And if you're really having technical issues,
try a new browser.
Clear your cache, clear your cookies.
That's like a standard thing to do, too.
And that will help.
And again, as I had emphasized before, too.
I'm seeing a question in the chat.
Yes, you should talk to your faculty advisor or somebody who
you're taking a class with or a trusted faculty member
that you can consult with about your application.
But you can talk to me about any of the Canvas issues,
in particular.
And so what happens, is a group of faculty
are going to look at the submissions.
And that's really going to happen the next day,
so that is why you need to get your application in,
because we're going to evaluate them very soon after.
And by Monday, the 16th, we will announce
who is selected for the course.
And I will do that through the Canvas shell.
I will send an announcement in the Canvas shell.
That's what I'm intending.
But anyway, I'll have your emails,
because you are going to put that in the contact information
questionnaire.
So I can always find you that way.
And once you are selected, then the idea
is that you will enroll in the course in the spring.
And I will give you an add code so that then, that's
how you add the classes, basically, through an add code.
OK.
What other questions do we have?
So does everyone feel like you're
going to leave this meeting and then you know
exactly what you need to do?
AUDIENCE: Oh, yeah.
Yeah, I think I know what to prepare for now.
PROFESSOR LETA MING: Terrific.
AUDIENCE: Yeah, at first, I felt a little off put.
But now I have the list.
So it does help manage it better.
PROFESSOR LETA MING: OK, great.
Terrific.
And also, one more thing that I can show you.
There is a handout.
I'm not sure if any of your art professors sent it to you.
So you might already have it.
But I just posted it here on the bottom of page two.
The printable application handout.
Which you can look at, which basically describes everything
that I just talked about here.
OK.
But that's at the bottom, in case
you wanted to kind of have a handy sheet.
And then mentioning tips for taking photography, that's
another handout that was on the Canvas site that gives you
some tips for photographing.
OK?
AUDIENCE: Yes.
PROFESSOR LETA MING: Roman, did you also
have some things, the social media sites?
Because the other thing that we are going to talk about
in this semester, since we're virtual, is to share your work
and distribute your work using social media.
We will talk to Roman and the museum staff
about how they do it.
And again, work on your personal website, as well.
So go ahead, Roman.
ROMAN STOLLENWERK: So, yeah, this is our Facebook,
which is Wignall Museum.
And then we also have our Instagram,
which is @wignallmuseum.
So these are the two main outlets
that we've found have been useful in sharing.
This is how we share, promote, all of our exhibitions, which
includes student Invitational.
So we have-- mostly what you'll see if you go and visit
either of them, it's going to be our more recent postings that
are related to Home Edition.
But if you keep scrolling down, you'll start to notice,
some of these images may look familiar,
when we were talking about Student Invitational.
So we used this, also, to send out and basically create
a posting announcing each of the individual artists,
including a representative image of their work.
And it's how we reach out and start promoting
the exhibition and your work.
So it's a good exercise, just in terms of choosing the image.
What image you end up wanting to choose in the postings.
So we'll work with you on that.
I'm getting a nice image that gives
a good sense of your project, a good representative example.
We also do a program guide, which is, conventionally,
a printed piece.
But we always have done an online version, as well.
So this is our Home Edition one.
But we also do one, and again, I'm at our website,
which is chaffey.edu/wignall.
Our past page, to give you an example for Student
invitational.
Sorry, one second.
So it's a little booklet that exists in digital format,
as well.
So for Student invitational, the exhibition guide, again,
the artists are included.
There's a statement by Leta talking about the exhibition.
And then each artist, a representative image,
and a statement about their work.
So again, this is all great experience, again,
talking about your work, verbally talking
about your work, in written format,
choosing images that are good representations.
It's all the kind of stuff that you
want to be aware of in our digital world
and try and use the experience of being online as a learning
experience and opportunity and a chance
to get more comfortable with how you want to share
your work with the world.
Because honestly, exhibitions are great.
But again, a lot of people are not
going to, even if you have an exhibition physically,
a lot of people aren't going to see your work, necessarily,
or have the opportunity to see it physically.
So having that knowledge and comfort
with trying to find the best way to reach out
to people when you can't physically,
it's a great experience.
So again, try and embrace it as a way
of becoming more comfortable with
that digital promotional aspect of your work as an artist.
But Instagram and Facebook, and then, of course, YouTube.
It depends on whether you're creating video,
how relevant that will be.
But any events, activities, talks that we've had,
we've been doing through our YouTube channel.
So that's primarily what it is.
But again, if somebody ends up doing animation,
digital work, time based media, conventional video,
whatever it may be, YouTube.
Again, Wignall Museum, all of our social and everything
that we have, it's all Wignall Museum.
So those are the outlets that we look at, primarily.
So we use all the same channels that we
use for all of our professional exhibitions.
We use all the same outlets for Student Invitational, as well.
AUDIENCE: So if we don't have an Instagram,
should we get one, just to be able to connect
with the Wignall Museum?
ROMAN STOLLENWERK: It certainly wouldn't hurt and it's great,
but it's not required at all.
Basically, we'll get images from you
and we'll push it all out there through our account.
So it's not required that you have one.
With that said, if you do have an account,
we can also include that in the promotional materials.
So we'll redirect people, also, to visit your own Instagram,
as well.
Same with Facebook or website or anything like that.
If you have the digital media out there, we'll share it,
but it's not required.
AUDIENCE: OK.
I just was curious.
ROMAN STOLLENWERK: Great.
Well, thank you, everybody.
And also, through the Wignall website,
if any questions do pop up, and of course, contact Leta.
You're certainly welcome to always contact
Rebecca or I with any questions that you may have.
And if we can't answer, we're always
more than happy to try and figure out who can.
PROFESSOR LETA MING: We look forward to seeing applications
and please do spread the word to your friends who are also
in the Chaffey art program who might be thinking
about whether to apply, too.
It's a really great opportunity for students
and we have a nice group that we can build some good camaraderie
in a smaller group and people who
are working in all different types of media.
So it's really fun, too.
ROMAN STOLLENWERK: Great.
Thank you, everybody, for coming.
And have a good day.
Bye.