HOW2
HOW2 Do a Tea Tasting Event
“Tea is quiet, and our thirst for tea is never far from our craving for beauty.” - James Norwood Pratt
There is something about tea that lends itself to beauty and the contemplation of beauty. The enjoyment of tea involves all senses and is multiplied by sharing it with others. Drinking tea with friends often seems to make time stand still, as we forget our worries and simply experience the gift of creation as it is.
Tea also offers us many ways to experience it, from simple steeping in a cup to the intricacies of a Japanese tea ceremony. And, of course, tea itself comes in so many forms and flavors: black, green, oolong, white. Each one has its own personality and evokes a different mood.
It is very important to use high-quality loose tea leaves. If you don't know much about tea, start by visiting a local tea store. You can also find great information online. If you already know about tea, be adventurous and try something new to expand your tea horizons.
Also familiarize yourself with the specific temperature and steeping times associated with each type of tea—as well as the different types of pots, timers and other paraphernalia associated with the making and enjoyment of tea.
Tea Tasting
Once you’re comfortable with tea, you may want to invite your friends to a tea-tasting get-together. Choose at least three teas that you like. They should be different from and complementary to each other. Write a description of each tea—as well as perhaps a little something about tea generally—as a handout.
To ensure a comfortable atmosphere for your guests, have everything ready before they arrive. Make sure that your seat is closest to the sink and the stove—and that all utensils are within your reach to avoid any disruption. Prepare a seat for each guest with a spot to put their cup down. Have your kettle filled with water ready on the stove, your strainers in place in your teapots, your measuring spoon placed near your chosen teas, and your timer already set for the first tea.
Rather than using a matching set of teacups, I prefer to offer my guests a selection of different ones. Their choices will be a great conversation starter!
Once everyone gets settled, pour a spoonful of dry leaves from the first tea on a flat dish and pass it around so your guests can smell and touch them. Share with them what you have learned about this tea.
Then heat your water to the right temperature, pour it into the teapot with the first tea, and set the timer.
If you are using a glass tea pot, the steeping time becomes a wonderful display as the leaves unfurl in the hot water, float, and then sink slowly to the bottom—coloring and infusing the water in the process. The Chinese call this “the agony of the leaves."
After the brewing time, remove the tea leaves with the strainer to avoid bitterness. Pour tea for your guests. Ask them to describe the smell and taste. Encourage positive conversation. Repeat the same process with the other two teas.
Don’t forget to take pictures. You are creating a happy memory for your community. You will want to look at the glowing faces later on and remember your tea time together.
Materials needed:
· Kettle or pot to heat water
· Three different teas
· Measuring spoon
· Three teapots with big strainers
· One tea cup for each guest
· Timer
. Printed handout (optional)
To best experience the pure flavor of your tea, avoid sugar and cream.
Ideas for tea events:
· Have a tea merchant come and do a presentation.
· Invite a lady from the Japan Society to perform a Japanese tea ceremony.
· Ask an old-timer from a Chinatown to do a Gong-Fu tea ceremony.
· Have a tea expert teach about Pu-erh at a men's meeting.
· Have three different paintings. Ask your guests to pair them with your three teas.
· Serve your own blend of tea at your gallery to those who love to linger.
· Serve English afternoon tea with scones and sandwiches for a special occasion.
· If you’re in a book club, choose a tea related to the country the story is set in.
· Have a picnic in summer and do a tasting with iced tea.
· Do a tea-themed fundraiser at your church.
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This HOW2 resource was created for IAM by Gerda Liebmann, a long-time member of the IAM community.
HOW2 Have a Word Party
Word Party (n): A gathering of individuals (see also: Word Lovers) who read aloud
pieces of their favorite written texts. May include novels, blogs, short stories, poems,
essays, textbooks, etc. [unlimited field]
Word Party (v): To gather for a Word Party.
Sentence example: "Everyone knew that the coolest people were going to Word Party and
so made their Tuesday evening clear for an amazing time."
While these are "instructions," the best Word Parties are distinctly casual and free form
in nature. There is no "goal" or intended result. The night makes itself and is completely
different with every meeting and each new combination of individuals. The express point
is to have fun and enjoy all the words that are exchanged in conversation.
For many, a book club is not a possibility. For college students (my community), the idea
of adding another book onto a long list assigned readings and homework assignments is a
literary death toll. I've found that many students connect deeply with at least some sort of
text. It could be a blog or a children's book or a comic strip or even a textbook.
Pre-Work:
- Each attendee brings a much admired/beloved text: novel, short story, blog, comic strip, graphic novel, poem(s), collection, tweet, etc. No limits on genre or form. Only limitation is that it must have words.
- Each attendee must be prepared to explain why that text is important and worth liking. Why it is worth "delighting in". Or: Why do you like it?
The Event:
- Have each person introduce themselves. We used the question, "If your relationship to words was a facebook status, what would it be and why?" as our classic icebreaker question. The answers to this are always entertaining.
- Invite one person to begin the readings. They read and explain why they like it. Others chim in with observations.
- Allow conversations to spiral/explode in any direction it feels like.
- At an appropriate lag in that current conversation, invite another person to read. Often times, the texts will have associative links in the conversation that prompts one person to volunteer to go next.
- Allow the night to continue on.
- Be somewhere where plenty of beverages are available.
The excellent, beloved texts will lead to honest, transparent conversations. Beauty and
delight lead to a profound shared experience the language and truth of the Created World.
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This HOW2 resource was created by Dana Ray (Pennsylvania State University).
HOW2 Organize A Small Works Auction
A small works auction could be organized like a traditional or silent auction, but we find that it is innovative and fun to run it like a raffle, and these instructions are for a raffle-style auction. Keep in mind that these instructions are guidelines, not rules, and infinitely adaptable to your organization, audience, and event.
MATERIALS NEEDED
- Small works to sell
- A place to display the art: tables, or a wall with an art hanging system
- Labels for the art
- Tickets for art buyers
- Food and drink
- Materials to wrap art (tissue paper, bubble wrap, bags, boxes if desired)
- Catalog (which you will create; see “Catalog” below)
Three months prior to event
- Secure space and date
- Secure commitments from volunteers
- Advertise auction in newsletters, websites, social networking sites, and emails
- Solicit donations from artists (see “donation guidelines” below)
- Work should be submitted
- Begin pre-selling tickets, if desired
- Create labels (with name of work and medium) and catalog for event (see “Catalog” section below)
- Lay out or hang work and labels in display area, if possible
- Ensure that all collateral materials are printed and assembled
- Set up table for selling tickets
- Arrive early to ensure everything is set up
- Direct volunteers to help (hanging coats, selling tickets, serving food, wrapping art, etc.)
- Allow patrons to mingle and look at the art
- To auction the art:
After the event
- Pull ticket from hat and read number aloud.
- Patron with that number (or proxy bidder) chooses work and has it wrapped
- In the first wrapping station copy of the catalog, find the catalog page for the.
- In the second copy, find the catalog page for the work and ask the patron to
- Choose another ticket and repeat until work is sold or tickets have all been
- Contact artists with patron information, and thank them for their donation
- Contact patrons and thank them for their patronage
DONATION GUIDELINES
“Small works” should be of an accessible size – easy to give as gifts or hang on the wall. As such, the size is best kept between 4”x4” and 12”x12”, though it is possible to be flexible on the measurements, as long as the buyer could easily pick the piece up and bring it home.
In order to ensure that this is an original work, we recommend requesting that all paintings,
mixed media, etc. be original works (no prints). Request that photographs be framed.
We recommend that the artist submit a short statement to accompany the work. It is vital that the work be submitted on time, so we recommend that the submission deadline be one month prior to the event date. This allows time to photograph the work, create the catalog, and display the work prior to the event.
(Please note that U.S. law currently does not allow artists to take a tax deduction for the value of their work, but only the cost of the materials.)
Selling Tickets
IAM has sold auction tickets for $75; you may choose to sell for more or less, depending on the quality and quantity of the work, the buzz generated, and your particular community. (Please note that U.S. law does not currently allow patrons to deduct the cost of the ticket, as they are receiving a good in exchange for it.)
You can choose to only sell tickets the day of the event, or you can pre-sell them before the
event. (If pre-selling, see “Proxy Bidding” below.)
You will need two copies of each ticket: one for the patron to hold, and one to go into the hat
for the drawing.
Patrons could potentially buy more than one ticket; each ticket guarantees a work.
Important: Only sell as many tickets as pieces!
CATALOG
The purpose of the catalog is twofold: to allow the patrons to read the artist’s statements prior to the ticket drawing, and to send each patron home with information about their piece and its creator.
Once you’ve received all the pieces and their accompanying artist’s statements, you can
create the catalog, following these steps:
- Take pictures of each work. Note that it’s nearly impossible to create high-quality reproductions, so concentrate on trying to capture a clear, well-lit picture that resembles the work as closely as possible.
- Create one page for each work. This can be done in Microsoft Word, Adobe InDesign, or a similar program. The page should include the picture of the work, the name and email address of the artist, and the artist’s statement.
- Print several copies of each page. Collate into several identical copies of the catalog, then three-hole punch and put into binders if desired. Two binders can go at the wrapping station, and the others can go near the exhibit while browsing.
You might also try to self-publish a bound catalog, if desired, through a service such as LuLu.com – but remember that this will incur a higher cost of production.
Proxy Bidding
People may wish to buy work that can’t attend the auction; consider making tickets available
for sale before the event (in person, or via an Internet service such as EventBrite.com).
- Send the patron a copy of the catalog and ask him or her to rank ALL the pieces in desired order.
- On the day of the event, assign a volunteer to bid on behalf of the patron. Give the volunteer the patron’s ranked list and ticket number.
- When the patron’s number is called, the volunteer chooses the highest ranked item on the list that has not already been chosen.
- Wrap the art and mail or hand-deliver to patron.
Small Works Auction
[DATE], [TIME]
[LOCATION]
Join us at [LOCATION] on [DATE] for our Small Works Auction! This is a wonderful opportunity to obtain original work to hang on your wall or give to a friend at a low price.
Small works auction tickets will be available for [PRICE] - first come, first served (each auction ticket holder will take home one piece per ticket).
ARTISTS: Interested in donating and exhibiting a small work to benefit [ORGANIZATION OR CHARITY]? Contact [ORGANIZER EMAIL] for details. Submissions are due no later than [DEADLINE].
SAMPLE CONFIRMATION LETTER TO ARTIST
Dear [NAME],
Thanks for your interesting in donating a small work to our auction!
Let me briefly explain how this works: You send us your piece, which will be displayed in our
space for a short period of time before the event. On the day of the event, people will come
and buy a ticket, which guarantees them a piece. We will draw ticket number from a hat, and
when a person's number is called, they can take a piece from the wall. After the show we send you the buyer's contact information, and we'll send your information to them (generally just email address) so that they can contact you to find out more about the work, and so on.
It's great fun for everyone involved, and your work gets to hang on someone's wall who might not have encountered it otherwise! This is not a juried process, so even if you don't consider yourself a "professional" artist, you're welcome to send a piece.
Attached is the submission form, which includes the guidelines. Please follow these guidelines explicitly. It is important that all send accompanying materials so that we can have a great exhibition.
The deadline for works to be submitted is [DEADLINE].
Please let me know if you have any questions! I look forward to seeing your work.
Thank you!
SAMPLE ARTWORK DONATION FORM
Small Works Donation Form
Small Works Art Auction – [DATE]
Name of Artist: ________________________________________________________________________
Address: ________________________________________________________________________
________________________________________________________________________
Phone Number: ________________________________________________________________________
Email Address: ________________________________________________________________________
Title of Work: ________________________________________________________________________
Media: ________________________________________________________________________
Dimensions: ________________________________________________________________________
Please attach a brief artist statement (1-2 paragraphs) for inclusion in an exhibition catalog and buyer’s information sheet.
Guidelines
Painting/Mixed Media
- Original works only; no prints.
- Size: approximately 4"x4" - 12"x12"
Photography
- All photographs/prints should be framed.
- Size: approximately 4"x4" - 12"x12"
Sculpture
- Size: approximately 4"x4"x4" - 12"x12"x12"
All works must be received by [DEADLINE].
Questions? Contact [ORGANIZER EMAIL].
HOW2 To Look At Art
By Merrily Kerr, New York Art Tours
When a shark carcass, a group conversation about Iraq or a monochromatic, untitled canvas can be considered art, how do you make sense of what you’re seeing? Most of us know what to do when we look at Old Master paintings: hunt for symbolism, figure out the storyline, appreciate the artist’s skill, and you’ve got it. Not so with contemporary and 20th century art,which oftentimes seems intentionally confusing. Artists, the ones who could really clarify things, often don’t, changing the viewer’s job from passive observer to investigator.
Sounds like work, right? Instead of stepping back and admiring the beauty of a landscape, say, contemporary art makes us ask questions about what a particular set of images or composition communicates. We’re put on the spot, forced into self-awareness with questions about what an artwork evokes, what mood it conveys, what common experiences it might tap into. The good news is that, often, artists make artwork with an audience in mind that technically ‘completes’ an artwork by interacting with it or responding to it. Art can be anything, but without you, it’s nothing.
The best way to see lots of art in a short time and hone your evaluative skills is to visit art galleries. In New York, hundreds of galleries put on new exhibitions every five to six weeks, drawing from stables of artists that can number anywhere from ten to forty or more. Checking out a gallery’s artists on their website can also provide insights into the gallery’s program, while a press release, checklist and press folder for the current show can usually be found at each gallery’s front desk. In museums, this translates to picking up a map and reading wall labels.
Being a proactive art viewer contradicts the idea that art’s meaning can be grasped by just
looking. This may be true for agitprop or advertising, but serious, avant-garde artists build in
layers of meaning that are revealed by consideration, introspection, awareness of an artists’
intentions and context of production. The following list of questions can help you get to grips
with an artwork. Not all art that makes it into a gallery or museum is necessarily good, but when you do find something that is meaningful to you, it can change your world, and that’s worth putting in some effort. Use all or part of the following list of questions to look at artwork, and I guarantee it’ll be worth it. Take your time and have fun!
1. Look at each artwork slowly and carefully, while trying to be aware of your initial responses – both obvious and subtle. What are the first things you notice about the work – what are your first impressions? Watch other people. How are they responding?
2. Note the titles of the pieces. What information does this provide?
3. What materials does the artist use? Anything usual (elephant dung)? Traditional (oil on
canvas)?
4. When was the work made? In the last few years? Or decades ago? If it was all made in the last year, for example, and there is a lot of work, does this mean that the artist works very quickly? Employs lots of assistants? If the work has not been made recently, why is it being shown now?
5. What’s the subject matter? Does the artist develop one theme in the show or several?
6. Who do you think the audience is for this show? Does it seem to be aimed at a particular
demographic? If so, are you included in that group?
7. How does the artist’s background or previous work inform the meaning of the new work?
8. In light of all the above information you’ve gathered and considered, has your initial
impression of the show changed?
Merrily Kerr is an art critic and writer living in New York City. She studied art history in England, where she began writing art criticism. In addition to writing regularly for international art magazines, including Time Out New York and Flash Art, she leads gallery and museum tours for individuals and groups and creates on-line art reviews on video available on her website: www.NewYorkArtTours.com.
HOW2 Hold An Artist's Salon
A salon includes three vital elements: a shared meal in a comfortable setting, time for attendees to converse and network with one another, and some informal presentations of works in progress. Below are some guidelines for organizing a salon night; feel free to adapt and modify them to suit your community!
MATERIALS NEEDED
1. A space to meet in with adequate room for attendees and presenters
2. Plenty of food and drink
3. Presentation-specific elements: projector, speakers, DVD player, easel, microphone, CD
player, etc.
TIMELINE
Two months prior to event
- Secure space and date
- Secure commitments from volunteers
- Advertise auction in newsletters, websites, social networking sites, and emails
- Secure commitments from presenting artists
- Sell tickets and/or collect RSVPs
- Plan menu
- Buy groceries and do any needed preparation
- Set up tables, chairs, and A/V needs
- Prepare food and drinks
- Direct volunteers to help (hanging coats, serving food, checking in attendees)
- Allow attendees to eat and converse together
- About an hour into the event, begin presentations
- Each presentation can be followed by a Q&A
- After presentations, attendees can linger
- Contact presenters and thank them for their contribution to the evening
THE EVENT
The purpose of an artist’s salon is twofold: to provide artists with a safe, informal, supportive
environment in which to present work-in-progress, and to connect with other artists and art-
lovers.
Therefore, it is important that the event’s atmosphere be friendly and conducive to
conversation. Simple but good food and drink are essential (successful salons could include
menus such as homemade pizza and crudités with dip; assorted cheeses, meats, and breads; or tacos; potlucks also may work well).
Set a limit to the number of people who can attend. A very large audience will make the event less personal and possibly more intimidating to presenters. The group may range from eight people in your living room to thirty people in a larger gathering space. Require RSVPs (or ticket purchases) so that you do not run out of space or food.
Encourage attendees to bring work in progress, postcards for events, notebooks, and business cards so that they can more easily connect with people they meet at the event.
You may choose to either let the first four to five volunteers present at the salon, or you may wish to pick the presenters. See the “Presenters” section below.
Setting Up and Funding the Event
We recommend setting up tables and chairs for attendees to sit at while eating. Have the
presenters’ A/V needs (microphones, projectors, instruments) set up near the front of the room.
This is informal, so feel free to use paper plates. Play music to create a fun atmosphere.
Salons can potentially be self-funding events. Asking for a small donation ($5 per person) can cover the cost of the food, which need not be fancy or expensive.
Presenters
During the evening, several people should present their work informally to the group – show a clip of a film they are working on, read an excerpt from a story, show a series of photographs or visual art, play a song, etc. This serves as encouragement to them and inspiration to the group.
Give the presenters a short limit (five minutes) for their presentation, understanding that
presentations may easily run over. Leave time for Q&A with attendees and the presenter. Be sure to encourage the presenter to provide information about their project and where attendees may find their work.
Cultivate an attitude of encouragement toward the presenters. This isn’t an art-school crit
session! Ask questions, thank them for their presentations, and applaud when they’re finished.
SAMPLE ADVERTISEMENT
Salon Night
[DATE] at [TIME]
[LOCATION]
Join other artists and art lovers for a fun evening of food, informal presentations, and
opportunities to meet new people from our community. We'll be meeting at [TIME] to eat a
simple meal together, then several artists will be given the opportunity to briefly present their
work. We'll also spend time just enjoying one another's company and conversation.
Bring your camera, a project you've been working on, or postcards for an upcoming exhibition. If you'd like to present your work informally for about five minutes, please contact [CONTACT EMAIL] to sign up (the first four people to reply will present). Presentations could include a short reading, a slideshow of recent visual artwork, a short clip of a film, and so on.
Admission: $5 to help cover the costs of the food, or a drink (soda, wine, etc.) to share.
Please RSVP to [CONTACT EMAIL] so we know how much food to prepare! Let us know whether you'll be bringing a drink or $5.
Artists of all disciplines and levels are welcome! Not an artist? Come and support our artists.
HOW2 Have A Discussion Group
Not that long ago, the local café was the gathering place for artists and thinkers, who spent hours hashing out the ideas of the day, solving the world’s problems, inspiring great art, and, in some cases, changing the course of history.
Today most of us can’t spend hours in the local café, but we can still spend a little time with others who are interested in wrestling with the deep questions of life together. A weekly discussion group is an excellent forum for doing so. Keep in mind that the guidelines below are just that: guidelines. Feel free to adapt them for your own community!
Materials Needed
1. A space to meet in with adequate room and food available. Urbanites may find this easiest in a local café; other people may wish to meet in their own homes.
2. Food and drink appropriate to the time of day.
3. Printed discussion materials, perhaps with notebooks.
When do we meet?
IAM’s New York discussion group has met on Wednesdays at 8:00am in an accessible
Manhattan café for the past several years, which works well for those who have to be at work in the morning as well as those with more flexible schedules. You may find that the ideal meeting time for your group is before work, at lunch, after work, over coffee, or on Saturday nights, weekly, bi-weekly, or even monthly.
The only guideline is to pick a time and meet consistently. Generally, discussing the topic for an hour and then allowing for informal conversation afterward works well.
What should we do?
Generally, discussion groups work best when participants come prepared to engage in
conversation. That may mean reading an article or book excerpt ahead of time.
When you meet, dive right into the discussion. Stay concentrated on the topic at hand, but
don’t be afraid of “bunny trails” – some of the most fruitful conversations are unplanned.
Keep in mind that the purpose of a discussion group is not to come up with a solution, but to
wrestle with the topic at hand. Cultivate an attitude of respect and safety for participants to
express opposing viewpoints.
What should we discuss?
The possibilities are nearly endless: a book, a topic, a film, a local art happening, an idea or
concept that is in the “zeitgeist” of your community. One successful format has been picking
and discussing articles from magazines and newspapers that deal with some important idea: the art world, the identity of an artist, art vs. craft, storytelling, etc. Start with a few prepared
questions and see where the conversation leads.
In order to help you jump-start your discussion group, IAM has produced several short discussion group curriculums on various topics. Visit the IAM website to download materials.