Part of Manifesto’s 10th Annual Festival Art Show included a ten-day art exhibition called “Fly Girl Fly,” which launched on September 10, 2016. Fly Girl Fly was envisioned to be “a celebration of girl magic” that showcased the “creative brilliance and powerful perspectives of a talented group of female artists leading the way in painting, mixed media, photography and installation” (Facebook). The launch party of the exhibition on September 10 included live DJs and alcohol from 7:00 pm until 3:00 a.m. and was “Pay What You Can” (PWYC) until 10:00 p.m., at which point it became $5.00 for entry. While the Manifesto Festival is sponsored by TD Canada Trust and therefore receives quite a bit of media promotion, the marketing for this specific
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On the front door of the theatre, there was a sign directing visitors to the back of the building through an alley, but the sign offered no arrows or explanation as to which alley they were referring to (Appendix). After wandering down three different dark alleys in the rain at 9:00 p.m., I finally found the proper alley by following a hoard of artsy people down a residential street. At the end of the street was the alley where there were some people hovering around an open shipping door that revealed the gallery, but there was no signage or people at the front welcoming visitors. There was a table near the entrance with an unlabelled box where I assumed I should place my voluntary entrance fee. The brick walls were painted white, the concrete floor was crumbling, and the wiring and fixtures were all left exposed. From an audience perspective, the difficulty of finding the exhibit and the lack of any signage or engagement at the door was irritating, and had I not committed to attending the event for this analysis, I may have given up and attended one of the other events taking place that evening. As for the gallery itself, the grittiness of the crumbling concrete and exposed wiring lent itself to the atmosphere of exhibition and
On the front door of the theatre, there was a sign directing visitors to the back of the building through an alley, but the sign offered no arrows or explanation as to which alley they were referring to (Appendix). After wandering down three different dark alleys in the rain at 9:00 p.m., I finally found the proper alley by following a hoard of artsy people down a residential street. At the end of the street was the alley where there were some people hovering around an open shipping door that revealed the gallery, but there was no signage or people at the front welcoming visitors. There was a table near the entrance with an unlabelled box where I assumed I should place my voluntary entrance fee. The brick walls were painted white, the concrete floor was crumbling, and the wiring and fixtures were all left exposed. From an audience perspective, the difficulty of finding the exhibit and the lack of any signage or engagement at the door was irritating, and had I not committed to attending the event for this analysis, I may have given up and attended one of the other events taking place that evening. As for the gallery itself, the grittiness of the crumbling concrete and exposed wiring lent itself to the atmosphere of exhibition and