The Cambridge Art Association (CAA), in an effort to better serve its members, is making available to a limited number of artists, a one-day artist portfolio review. In short, a portfolio review is a way for emerging and established artists to meet art professionals across several disciplines, present a portfolio of work to them, and make contacts that can be followed up on which will hopefully help the artist meet his or her goals. During the course of the review day, each artist is provided with three (3) twenty-minute reviews in which artists meet one-on-one with a reviewer to show him or her their art. In between the formal review sessions, artists can also show their work to other "roving" reviewers as well as other artists. Review events such as this are popular with photographers each year across the country and the CAA has decided to extend a similar opportunity to all art mediums as represented by our membership.

The cost is $250 for non-members; $200 for members. Spots are filling up quickly; call the CAA now to reserve a chance at this great opportunity.

Reviewers
Camilo Alvarez, Founder/Owner
Samson Projects, Boston, Massachusetts

Emily Moore Brouillet, Assistant Curator
Institute of Contemporary Art, Boston, Massachusetts

Leslie Brown, Curator
Photographic Resource Center, Boston, Massachusetts

Maria Magdalena Campos-Pons, Co-Founder
Gallery Artist Studio Projects (G.A.S.P.), Brookline, Massachusetts

Dina Deitsch, Assistant Curator
DeCordova Museum and Sculpture Park, Lincoln, Massachusetts

Arthur Dion, Owner, Co-Director
Gallery NAGA, Boston, Massachusetts

Jodi Hays, Curator/Instructor
Tennessee State University, Nashville, Tennessee

James Hull,
Artist, Educator, Independent Curator and Critic

Carole Anne Meehan, Director/Vita Brevis
Institute of Contemporary Art, Boston, Massachusetts

Jen Mergel, Assistant Curator
Institute of Contemporary Art, Boston, Massachusetts

Paula Tognarelli, Executive Director
Griffin Museum of Photography, Winchester, Massachusetts

Howard Yezerski, Owner
Howard Yezerski Gallery, Boston, Massachusetts

Artist Portfolio Guidelines
These guidelines feature ideas on how to successfully participate in an artist portfolio review and how to present your portfolio. The information is useful to anyone in working in fine art or commercial art. To become successful in today's art market, artists must have a vision, they must master the technical skills required in their art medium, and they need to understand of the business of art.

When presenting a portfolio, not only the artist's work is being judged, the artist is also being judged. Is this artist serious? Will he or she succeed in the art world? Are they worthy of being represented or having a show? Your artist portfolio should impress reviewers with your vision and with how well you have mastered the technical aspects of your medium. To go along with your portfolio, you should provide good artist support materials.

Portfolio Design
Remember, no matter what you've heard or read, your work doesn't stand-alone. Whenever a gallery owner, museum curator, or art consultant reviews your portfolio, the memory of your artwork will be only part of what you leave behind. Just as packaging plays an increasingly important role in product marketing, you the artist are as integral to your presentation as your images. A successful portfolio presentation is absolutely necessary if you expect to become represented by a gallery, have a show, or make sales.

Your art must be presented in a professional manner. Choose only finished work for your portfolio. Never show work in progress or concepts. Always show your best work. Plan your portfolio carefully. A good portfolio should have continuity and provide reviewers with a clear idea as to what your vision is. It should be organized by subjects or different styles or mediums. Horizontal and vertical art, as well as different sizes, should be organized and grouped separately. All work (both two- or three-dimensional) should be easy to handle and quick to show.

Your work should be presented in an appropriate portfolio case or easy to carry packaging. Cases or carry bags are usually available from good local art supply stores. You can also purchase them through mail-order companies. It is usually not desirable to frame your work (unless the work already is or needs to be to protect it). This will make carrying and showing your work easier. Before making your portfolio presentation, remove any tissue or plastic bags that protect the art. Make sure that your art is clean and free of any fingerprints, etc.

Editing Your Artwork
Your portfolio must be well edited, and you may not be the best judge of your own work. Since it is often difficult to be objective about your own art, you might have someone you respect view and critique your portfolio prior to showing it to a reviewer. This will ensure that the work you show is your strongest work.

Limit the number of pieces you are showing to no more than:

• Painters (all mediums): six to eight paintings, depending on size (unframed unless necessary for protection of the art)
• Photographers: ten to fifteen prints (unframed)
• Sculptors: five to eight pieces depending on size

The main objective of the review is to introduce your work to the reviewer. Make the experience of looking at your work as pleasant and positive as possible. Present only one thematically unified or otherwise cohesive body of work. If you have more than one body of work to show, show your strongest work first and if time allows (and the reviewer is interested) you may be asked to show another body of work (or to meet during a break).

NOTE: Overly large pieces of art may be difficult to transport and show to a reviewer (remember, you only have 20 minutes with each reviewer; don't spend all that time unpacking art). If your work is large and/or bulky, you might want to bring in just two or three actual pieces with photographs of other work. This will give the reviewer a sense of your work by seeing it in person and can then look at photos of your work with that in mind.

Preparation
Research the reviewers as best you can before you show up at the portfolio review. Although the reviewers are randomly assigned based on the primary medium the artist is working in, don’t discount a review from a reviewer not normally associated with your medium. For instance, if you are photographer, a reviewer who represents primarily painters might still have great feedback or know someone who might be interested in your work. Remember, the art scene (and those who work in it) is really a small group of people. They know each other and they frequently know what their peers are looking for with regards to new art.

Presentation
Here are some tips to help you with the actual review itself:

• Thank the reviewer for taking the time to look at your work. Briefly introduce yourself and your artistic history. Keep it short, because your work is more important at this stage.
• Assume that the person looking at your work is a professional. Don't insist on white gloves or make a fuss about the handling of your work. If you are overly concerned, handle the work for the reviewer. Always keep in mind that you want to make it as easy as possible for the reviewer.
• Listen carefully and don't hesitate to take notes if necessary. Keep your questions to a minimum. Try to eliminate negative responses from the reviewer, and always avoid questions that can be answered with a "no". Be up front with your goals as an artist and what you are looking for from the reviewer. Don't ask for representation, and don't ask for an exhibition, because you can assume that the person looking at your work knows what you want. The reviewer will discuss representation or exhibitions if they are available to you. Your main purpose in showing your portfolio is to have the reviewer become familiar with your work, to make connections to possible opportunities, and to network.
• Be friendly, positive, polite, and courteous. Avoid being rude or inconsiderate. Keep in mind that you are asking a decision maker to help you. Through your words and actions, indicate that you place great value on that person's time and opinions.
• Network with your fellow artists between reviews as they can also serve as a source of contacts and suggestions during the review and afterwards.
• Respect the 20-minute time slot you have for showing your work and be ready to move on when your time is up. Some overlap is inevitable however, when the 5-minute warning is called start wrapping it up. If there is more to be said, quickly make an appointment to meet afterwards: if the interest is there an additional meeting will happen.
• Bring leave-behinds for the reviewers (i.e. postcards, business cards, etc.); make sure that it includes all of your contact information. Bring plenty of extras, as you will probably want to give some to your fellow artists as well. Don’t leave a large amount of material with the reviewer, such as booklets, CDs, etc., (cards are fine) but instead, ask if you can mail them additional material later. The reviewers will have lots of artist material to take back with them so it is best to send more bulky material later so that it doesn’t get lost.
• Take notes after your reviews and follow up with reviewers when you return home.
• Yes, the reviewers will remember who you are if you try to follow them into the bathroom to show them your work, and not fondly. Don't do this. Really, don't do this.
• Send follow-up material and a letter (especially if the reviewer asks for it) within a couple weeks after the review. You've spent a lot of money and time to get to the review, don’t waste it by failing to follow-up.
• If you have photos of additional work, have them ready and be prepared to show them if (and only if) the person reviewing asks to see more of your work. Photos (and sometimes slides) are frequently used by galleries and art consultants to show clients images. Mastering the art of making good quality photographs of your work will be a benefit to your career. If you are having difficulties making good photographs, let a professional or someone who knows how to make them do it for you.