January 19, 2022 @ 6:30 pm – 8:30 pm
Old Masonic Hall
136 S Main St
Breckenridge, CO 80424
$20 / $15 for BCA Members / $5 for BCA Artist Members


Beginning November 1, 2021 as a requirement of entry, all guests 18 and older of BCA managed indoor public facilities must be fully vaccinated and will be required to present proof of COVID-19 vaccination along with a state issued driver’s license or ID. To be fully vaccinated, a guest must have received the second shot of the Pfizer or Moderna vaccine or the first shot of the Johnson & Johnson vaccine at least two weeks prior to the event date. Guests ages 2 to 17 will be required to wear a mask at all times regardless of vaccination status. You may read the full policy here.  


Instructor: Kia Neill

1/5 + 3/23 – Photographing Artwork: In this hands-on session we will cover lighting, backdrops, as well as different approaches to documenting artwork of various kinds and purpose. Participants should bring their camera (smartphones are fine), a tripod (if they have one), and a small artwork to photograph.

1/12 + 3/30 – Organizing portfolios and presentations: Learn best practices in selecting and organizing your images for various proposal and promotion purposes. We’ll also cover basic corrections, resizing, formatting and file naming. Participants are encouraged to bring their portable devices and a selection of images to practice with, or if they have a thumb drive or link they can share with the instructor, the instructor can demonstrate with their images in class.

1/19 + 4/6 – Applying to Art Calls: Learn how to find calls for exhibitions, murals, residencies and other projects that are appropriate for you. We’ll go through the process of preparing all the materials required of submissions and the importance of the technical details.

1/26 + 4/13 – Writing and talking about your art: We’ll start the process of what most artists find excruciating, writing and talking about your art! Participants will do a casual show and tell of their work, and through group conversation we’ll begin to identify and verbalize key concepts each artist is addressing in their work, and develop an initial artist statement. Participants should be bring a selection of their recent artworks. Artwork may be brought in person or digitally, either on a thumb drive or a link that can be shared with the instructor. Participants should also bring a journal or device to write with.

2/2 + 4/20 – Resumes, Bios and websites: Acknowledge all that you’ve done by creating your artist resume. Plus, you need this for many art calls and your artist website. We’ll cover how to assemble and format artist resumes, and write the short Bio that is needed for your website and most anything you do with a gallery, art center or public art project. We’ll also go over some things to consider, what is optional and what is essential, when creating your artist website.

2/9- Budgets, pricing and contracts: Not only will we go over key points in determining the prices of your artwork, we’ll also cover what to consider in creating budgets when proposing murals, public art or other commissioned pieces. Anytime you exhibit your work or work on a commission, contracts will be involved. We’ll go over a few common templates for a variety of project scope.

2/16 – Looking for other artists – Inspiration, criticism, and feedback: Artists can benefit greatly by looking at other artists’ work, websites, resumes, and writing. It is important to see how other artists problem solve the creative challenges within their work. It is also helpful to see how other artists format and present their professional profile, and to see what kind of activity and projects they’ve done. We’ll cover different ways of looking for artists that are relevant to what you do, and we’ll start the process of talking about art critically. Criticism and feedback are crucial for artists to progress and sophisticate the art practice.

2/23 – Cutting mattes and presentation on the cheap: How you present your work is just as important as the artwork itself. Presentation focuses how your artwork is viewed and interpreted, but also devices such as mattes and frames help protect your work while in storage and transit. But framing is expensive! But it doesn’t have to be. We’ll go over some thrifty approaches to framing, and participants will learn how to successfully cuts mattes. Participants are encouraged to bring a small (no bigger than 8”x11”) 2 dimensional artwork to matte.

3/2. Presentation for sculptural and hard to hang works: Not all artwork can be framed or hung on the wall. In this session we’ll cover the importance of bases for sculptures and different means of presentation forms for 3 dimensional works. We’ll also go over considerations when engineering hanging artworks and installations. We’ll look at a bunch of artists’ problem solving when it comes to presentation and brainstorm how you can create a means of presentation appropriate for your work. Participants are encouraged to bring an example of their hard-to-hang artwork (either in person or digitally) and a sketchbook or something to draw out possible presentation ideas and engineering.