David Taylor Painting Demonstration

Venue: Berwick Artists Society

Topic: Water Colour Painting of Water Scene

Artist: David Taylor AWI, FAVS

David is a well known and respected artist not only in Australia but also overseas. From his personal biography we read:

Born in Melbourne Australia in 1941, David’s early career began in etching and a 6-year apprenticeship at the north Melbourne Printing School of Graphic Arts to colour etching assisted in his future career as an artist painter. Many hand skills were learned such as hand engraving, lino and wood cutting also etching with zinc, copper and magnesium, later etching on film in lithography.

Oakhill Gallery Award for Emerging Artists

As a rule I try not to do too much self promoting on this blog site, as it is mostly reserved for education and information. I like to inform about events that may be of interest and promote the arts, especially fine and visual art to those that are already interested or are thinking it may be something that they can start to look at for a hobby or collector.

Today I am breaking my own rule a little to talk about the opening night at the Frankston Chisholm TAFE End of Year Art Exhibition.

Students, including myself as a second year visual art student, spent quite a bit of time in meetings to arrange the exhibition, working on getting the infrastructure of the night done, promoting, advertising, getting signage done, arranging catering, inviting a special speaker to open the exhibition and security etc. Following all of that come the clearing out of the studio spaces and cleaning, then the hanging of the exhibition and preparing the area for guests and entertainment.

Archiving and Conserving Art

Venue: McClelland Gallery and Sculpture Park

Care and Conservation of Works on Paper

Presenter: Jude Fraser, Manager Consultancy Programs.
Information from the Centre for Cultural Materials Conservation University of Melbourne.

The two hour session at McClelland Gallery was for collectors, artists or anyone who had an interest in art, producing art or collecting of a variety of objects. As a practising artist, I wanted to learn more about conserving and archiving from the beginning, meaning from my studio and the initial creation of the artwork through to assisting clients to better care for their purchases from me.

This included consulting on storage of my materials, storage of and archiving artworks – especially those on paper (short and long term) and plans for storage facilities for the growth and expansion of my studio.

When We Are Not Painting

What do Professional Artists do when they are not in front of their easel?

Many may think of artists as spending our time happily painting away our days and nights in front of our easels, coming up with paintings and various artworks one after the other as if by magic. To many the “gift” of being able to draw and paint is natural and doesn’t have to be worked on. Some may not think of how all the rest of the infrastructure of running an arts practice gets done, or if there is any to address at all.

The reality is that the precious time that we have in creating our art works is less than you may think.

Arts practices or business, like all others, have a lot of paperwork to do. We also have to make sure that our materials are stocked and art is a lifelong education. This means that many artists are not only teachers but lifelong students.

MSDS for Artists

Materials Safety Data Sheet

What is an MSDS?

As artists we handle various chemicals that make up the paints and pastels as well as the mediums we regularly use. It may not occur to us that we might need to have safety sheets in our studio so that we know what to do in case something goes wrong, or to safety store and handle these as we work but as a business we have a duty of care to ourselves and others.

If we are to invite visitors such as clients into our studios, have students in our care or even if we have our own family exposed to our activities as artists, we need to know what we are using and how to make the environment safe for everyone including ourselves.

A material safety data sheet has mandatory information that must accompany almost every chemical in a workplace including a volunteer organisation and educational institution, except for items like cleaning supplies. An MSDS includes details such as the risks, precautions, and first aid procedures associated with the chemical. Personally I would include the cleaning supplies, as chemicals such as chlorine fumes can induce an asthma attack, others which may have methylated spirits in them may cause feinting or headaches.

Ron Reynolds

Demonstration of Semi-Abstract Landscape Painting

Venue: McClelland Guild of Artists

Ron came along to the demonstration loaded with cards on which he had written his tips and thoughts on his art and producing art. I will start with a few of these as they show where he is coming from.

Certificate for Clients

After the recent talk at McCelland about conserving artworks and my tour this morning around the archives at the gallery, I have put together a document for clients who purchase an artwork from me to help them care for their purchase better as many do not know that light, for example, can damage a painting or work on paper.

This is just a draft at present and I will look at it again in coming weeks, but I thought I would put it out here and see if anyone has ideas on improving the wording or additional information that may be missing.

Comments and ideas most welcome.

Care of your artwork

Storage and Archiving of Artworks

Tour of the McClelland Gallery Archives and briefing on methods of storage, archiving and transport of artworks

I was very privileged today to be allowed a tour of the archives in the McClelland Gallery and Sculpture Park. As a practising artist and art student the understanding of not only how to produce art but how to store materials and artworks is of major importance if pieces are to outlive their creator. Unless you are studying curating or conserving you may not have the opportunity to look into how to best take care of works on paper for example, so I thought an editorial about the subject might be a good start.

I will be using McClelland’s methods as my prime example for this story so will start with a little more information about their role as a public gallery.

The Role of a Public Gallery such as McClelland is:

• To promote the gallery and the visual arts by engaging and developing relations with the community through public programs and education. This may include guided tours, workshops, school holiday programs, artist in residency programs, lectures and art chats.
• To exhibit and display art work from the gallery’s collection or works loaned from other galleries, private collectors or the artists themselves.
• To occasionally commission artists to create a specific work for their collection.
• To collect artworks (collection development) through the purchase or acquisition of work.
• To maintain artworks in their collection (conservation) to ensure works to not deteriorate and will be there for future generations.
• To research artists and artworks and share knowledge.

The Values that Underpin McClelland are:

• Excellence – in all aspects of exhibition presentation and preservation of the collection and natural surrounds.
• Innovation – in programming to inspire, educate and engage a variety of audiences.
• Identity – to contextualise community involvement and engender a sense of place.
• Integrity – in accountability to deliver against all areas of strategic plans.

With these things in mind there are various roles for the trustees, employees and volunteers in the gallery. A major one concerned with conserving art works is the Curator.

The Role of the Curator:

• Management and care of the artworks in the gallery’s collection.
• Developing the themes and concepts of upcoming exhibitions.
• Writing catalogue essays, wall texts and interpretive information for the exhibitions.
• Designing the layout of exhibitions.
• Organising loan documents for works coming into the leaving the gallery.
• Identifying works requiring conservation treatments.
• Maintaining registration information about all the works in the gallery’s collection.
• Liaising with installation staff about the handling and care of the artworks.
• Researching information on artists and works.
• Developing budgets for exhibitions, conservation and acquisitions.
• Added to these may be researching new and better methods of conserving and storing artworks for the collection.

Conservation of Artworks

Conservation in contrast to restoration aims to restore work in its original condition for as long as possible. Preservation aims to do this by correct storage, handling and display of times. Restoration or remedial conservation is sometimes required to stop further damage to repair damage that has occurred.

To ensure the optimal conditions for the safe storage and display of works that gallery has a number of controls in place relating to temperature, humidity and lighting. These conditions preserve our collection but also ensures that other galleries know these requirements are being met when works are on loan from them.

Note that conservation today means that anything done to an artwork needs to be easily undone. This may mean that for example, an oil painting has a protective layer put on it and only archival acrylics colour matched and painted on to present a painting in a gallery. Technology changes and improves so anything done needs to not damage the materials on the original work. This would also include repair of any rips or tears in the canvas or paper used in the original work.

Temperature and Humidity

Maintaining the optimal temperature and humidity inside the gallery is important as fluctuations can cause the expansion or shrinkage of materials and may cause surface materials to crack or warp.

McClelland Gallery has a climate control system that maintains the temperature at 21 degrees Celsius and humidity at 50%.

The climate control system also has an air pollution filter to reduce particles in the air and dust as these can be very abrasive. As such carpet in the gallery is not the preferred flooring as it creates dust. Where it is used it is 100% wool and not synthetic.

Lighting

Both the type and level of lighting is also controlled in the gallery as dyes and pigments are vulnerable to damage by light. McClelland uses halogen and tungsten lighting that creates a yellowing light which helps to protect works and has little or no UV. A lux meter measures the amount of light in any given area, the optimal lighting depends on the style of work, such as works on paper in contrast to an oil painting or a sculpture.

Sculptures are often made from materials that are not light affected so storage and display lighting is more thematic.

Works on paper are very vulnerable to light damage. They are shown at 50 lux or less and are not displayed for long periods of time. They are often rested at a ratio of 3:1 meaning that they will be stored for three times longer than they are on display. Direct light and sunlight will damage paper and the pigments used on it.

Paintings are often shown in lighting up to 200 lux. You will notice that the lighting in a gallery for an oil painting will be brighter than for works on paper.

Handling artworks

When handling artworks is is always a good idea to wear protective gloves. This prevents oils and dirt from hands damaging artworks. Even the cleanest hands will have some oils on them.

Works on paper are carried by the side of the frame and supported underneath, they are never carried but the top of the frame. When resting against walls they are never allowed to touch the floor.

Vessels and pots are lifted holding the sides and supported underneath.

Vermin Control

Insects and vermin can damage artworks by gnawing and leaving droppings. Regular checking of stored and displayed artworks will minimise this happening. Insect repellant and chemicals can damage artworks so the obvious methods used in our homes is not the way to protect art. Sometimes the works are frozen to kill off insects and their eggs. Before using any chemical you need to check that it is safe to use near or on your art.

McClelland also regularly checks all their works on display in the sculpture park. Being exposed to the weather and human interaction means that cleaning and repair are required. Some of the works have a protective coating for dealing with the elements.

Management Reports and Infrastructure

Condition reports are filled out when an artwork enters or leaves the gallery to ensure that no damage has occurred during transit or whilst on display. These reports often accompany artworks as they travel.

Transport of valuable artworks is handled by a professional and experienced group that specifically handle art for galleries. Transportng art may not occur to many but it has to be done as carefully as storing and displaying. The vehicles are specially designed to protect art from weather, heat, cold, damp and damage as well as security from theft. this is much more than the art courier that may take a local artist’s work to a local exhibition.

Security and fire protection are also of major concern to any gallery holding valuable works. Most of this is computer controlled these days with links to central locations that monitor the gallery 24 hours a day 365 days a year. McClelland also has the advantage of live in grounds people so there is always someone on the property looking out for all the artworks.

My Tour

I know all the above is a lot of technical information to take in but more important, I feel than my own personal impressions and feelings about touring the archives, which was, by the way, amazing.

I saw how the works on paper are stored, the oil paintings and sculptures. My plans for my own studio have been enhanced and in some cases confirmed which is good. I already use map drawers to store my pastels, water colours and drawings. I use archive bags from Seniors, but may have to rethink this with the addition of either glassine or tissue paper included over the works to help prevent static build up pulling any of the medium off the paper. I had noticed this happening to a few of my pastels in particular, so may invest time soon in going through the drawers and fixing this issue.

I had thought of making up pull out wire racks (not as big as McClelland) to hang framed or wired oils from as well as building some racks for frames and other paintings. Storing back to back in the racks is done at McClelland and I am happy to say I already do that. I am now looking forward to having my rack system as well as it makes access to works so much easier for brief inspections.

Imogen also showed me Solander Boxes. Black boxes to store smaller works on paper. They also look like a good idea if you have shelves handy. All the works on paper are stored with acid free materials around them which is what I aim to do as well.

The big part of the tour on a personal level was left until last. A small McCubbin oil sketch and a bonus of an E. Phillips Fox painting. All I can say is WOW. How many of us are allowed to get so close to an original master’s work? I was able to closely inspect nearly every brush stroke by these two Australian icons. Having just finished reading a book about McCubbins’ final years from 1907-1917 and his methods of painting and how they evolved as he learnt from other artists and developed his own style right to the end of his life, I was able to really “see” what he had done to get the effects in his work. Similarly with the Fox painting. Such simple areas of paint leading to that gorgeous face of a lady looking into a mirror. What was she thinking, how did she feel? So many questions as the artist led me around the painting.

I couldn’t wait to get back to the studio after this experience to talk about everything I had learnt.

What this all means for me

There are a few of aspects and reasons why I was so keen to have this tour of the archives.

• One is that I feel I need to build a studio that maintains and protects all the materials and completed artworks in it.
• I now know that I need to create an assets register. This will mean a stocktake and inventory of the studio but better done before the collection gets even bigger and during summer whilst I have the time. This is more than just the files I have already started, it will be a database for quick reference for insurance as well as control and preservation of assets.
• Another is that I think I should be advising clients on how to care for their purchases so that they get the best experience and longest “service” from it. A handout when a work is sold is feeling like a good idea and well as a value added service.
• Another is better understanding of how to create artworks that will last by selection of materials.
• The final one is to pass on information to other artists about this important part of our practice. We need to know how it all works, the transporting, the storage at venues and the hanging at venues. We can then judge if a place will care for our work properly before we send it there and how we send it.

It’s all about being more informed. If we understand the whole process we can appreciate what galleries do to preserve the major works we see when visiting them. We can make better decisions about our own practices and who we deal with as we exhibit and sell.

I hope this has been an interesting article and has given you some things to think about or helped to improve your practice or interest in art.

Special thanks to Imogen Good at McClelland Gallery and Sculpture Park for the tour of the archives, her valuable time in talking over the practices of the gallery and for use of the notes which I have drawn from to produce this article.

McClelland Gallery and Sculpture Park is open:
Tuesday to Sunday: 10am – 5pm.
Closed on Mondays and some Public Holidays. There is a lovely cafe in the gallery for snacks or lunch.

The address is: 390 McClelland Drive, Langwarrin, Victoria.

The gallery can be phoned on: International: 61 3 9789 1671 Australia: 03 9789 1671

Done and Dusted

Reflections at the end of Diploma of Visual Arts and 2013

Today I handed in the last of my artworks for assessment and tidied up my work space in the second year studio. With about three months ahead before things get going next year, I like to take a while to collect my thoughts about this past year, and indeed the past two years of my Diploma of Visual Art course as well as where my art is going in the various societies and guilds of which I am a member and in general.

Being the fairly ambitious person that I am, I could only try to produce the best quality I could muster as well as trying to be a little more experimental and creative with both materials and subjects as the second half of this year wound up. The latter part of the course, I felt was a time to really decide on the style of paintings I want to produce commercially and what subjects I think will reflect my interests, my personality and be of interest to a potential client.

This has led to a series of much larger works than I had ever produced before as well as looking as some new subjects. The pure joy in researching and painting these is something I can’t put into words. I feel however, that it has all come out in the final look of the works which hopefully will tell what I can not.

As with many artists of the past, my research into masters of the past and present has led me on a journey of discovery of how each has been influenced by those that came before them. In a lot of cases one artist that I very much admire was greatly influenced by another artist that I admire. This chain of talent and evolving method and style has been a revelation in my own search for a style of my own. Everything is linked, there has emerged a clear path from one to another going back in time, or maybe rather, forward in time leading to me – trying to create my own place in art and the world.

I have read a lot this year, the art book collection has grown in my home studio as study into one artist has led to yet another book about their influences. Reading, again has become an important part of my life.

I have also sought out mentors outside of the TAFE system. I either look for someone who I trust to help me with a perceived weakness or someone to help me to develop the style I am developing and the in-depth technical knowledge of materials and methods to go to the next level. My main tutor for this during the year has been David Chen, who won the Camberwell Art Prize this year and who has very impressive qualifications in fine art. I also spent time with Glenn Hoyle for his great ability to get my head around the methods of painting water colours and Cathy Van Ee who paints beautiful portraits and has brought out in me some of the best I have ever done. Without these amazing people I would not be finishing off this year so much the better than last year.

At this point I also want to mention how important it has been to have a supportive partner/spouse. I know a lot of women in particular who do not have support from family, friends or colleagues. Their art is seen as a nice hobby but nothing to be taken seriously. In some cases they are belittled and put down which I find hugely offensive. I have been very lucky, my husband is totally supportive of what I am doing. He helps me when I have a project that requires power tools that I can not use well or safely, he advises on my work in a positive manner and wants me to continue my studies and my goal to build an arts practice. He attends openings with me, workshops on occasion and school events as well. He has set up my studio space and talks to me about how we can expand it to make sure I have all the facilities that I need as my practice grows. He even helps with accounts and financial support for materials and exhibition entries and courier fees. All whilst only having a part time job and a still developing IT business which he is building.

2014

So, what now as I sit in the library on the last day? I will be here at TAFE when we come back after assessment to clean up and arrange our works for the end of year art exhibition and sale from the college, and meanwhile I am thinking of what plans I have for the coming weeks and months.

For example, I have a home studio to clean and tidy up, paintings to archive or recycle and paperwork to file – for a start. I am going for a private tour of the archives at McClelland Gallery tomorrow. As a volunteer at the gallery I asked and they said yes. Next week I am volunteering at the Gallery for a workshop for kids.

I have been given some “homework” by the Frankston Camera shop where I did two workshops recently, in the form of taking a photo a day for the entirety of the holidays with different settings on the camera. I hope to work this in with building my reference library of images for future artworks. I plan to get out and do some painting plein air while the weather is warm whilst doing the photography as well.

In January 2014 I have booked in for two all day workshops with Cathy Van Ee to draw and paint portraits.

No doubt there will be a holiday program at the McClelland Gallery so more workshops may be coming up before and after Christmas. Participating in kids’ workshops may sound a bit strange for an emerging artist, but there are benefits for not only the kids who learn from an artist. Fresh minds and the lack of fear when kids create can be very inspiring. As I have a Certificate IV in Training and Assessment it also helps me to learn how to teach kids of all ages. It is also fun. It is a chance to not be too serious about art and to “play” if you will, with materials and subject you don’t in your practise. So, I am looking forward to any of these that I can join in on.

Starting in February next year I will be doing five all day workshops with David Chen learning all the aspects I can about drawing and painting still life. I have also booked in with David for a further five workshops starting in June next year, drawing and painting life studies (nudes) from live models. Meanwhile there are the last demonstrations at two of the guilds of which I am a member where we present work to be judged for artist of the year. I have done fairly well at both places this year and hope to wind up with a place if not a win at both.

At the end of November we will be deciding what course to do next year. As TAFE is close to home so not too tiring as far as travel is concerned, I hope and plan to be back here next year. TAFE has been working towards offering a degree course so if that is available I want to do that and go on to do an honours year if I do well enough. If that doesn’t happen I will go to “Plan B” and do the Advanced Diploma course in preparation for the degree course wherever I can do it. I have always been sorry that I didn’t go on with studies years ago to obtain my BA in Art, so am determined to achieve it in the next few years.

Along with entering regular art exhibitions during coming months it is looking like another busy and productive year. To add to these I have also looked at doing a short course in accounting so that I can be of more use in our business and helping with the BAS, payroll, banking and business reporting in future so that if my husband is busy I can take over a bit of the burden. I also think it is important that I understand all of this for selling artworks and running an arts business. We will see if I can fit that one in!

Finally

On November 21st we have the opening of the End of Year Exhibition. Artworks will be on display and for sale and there will be some short speeches wrapping up the year and our courses. I am looking forward to seeing all the work that fellow students will have in the exhibition, an event that I have been on the committee for, helping with posters and other printed material.

Next week we stay away from TAFE whilst our work is assessed, we then return on the 18th to clean up our work areas, clear everything out and hang the exhibition.

I am hoping that I will be so busy with activities set up during the break that I don’t miss this haven from the world too much, but I think, every now and then I will. More than just the place – it is also the people, those that I have trained with and those that I have learnt from. Keen for the results and the break – I am also a bit sad because it is the finish of the year. Thank you to everyone for making it such a memorable part of my life… and have a great holiday!

Made to Last

Conserving Artworks for Artists and Conservators

Venue: McClelland Gallery and Sculpture Park

Speaker: Sherryn Vardy (NETS – National Exhibition Touring Support)

The Art Chat at the Gallery for November was presented by Sherryn from NETS. Sherryn has a Masters Degree and a Graduate Diploma in Painting. She has worked for Galleries and has curated. Her education and experience makes her an informed and interesting speaker, especially for emerging artists who may not have learnt how to create and store their work for long term sustainability or future conserving.

The attendance was quite small compared to previous chats I have attended this year, which is a shame, as the conservation of masterpieces in major galleries as well as those by contemporary artists is a major concern for galleries, a little known part of the arts world by most people, and a part of a practising artists business that should be addressed as they create and store their own work.

As a practising artist, the set up of my studio space, the production of artworks (selection of materials included), the storage of materials and artworks as well as transportation should be and hopefully is a part of my business plan to a proper degree. Advising clients on how to care for their artworks once purchased, came out of this chat as an important part of my practice that I have overlooked, but which will be remedied in the coming few months.

Many of us may think about the care of and conserving of a very old painting from the 16th-18th or 19th Century as we look at it in a gallery. The old frames, the cracks in the surface and possible discolouration of the varnishes may prompt us to wonder how these are cared for. It is a science and not merely an artistic endeavour to care for artworks. Training in chemistry is involved in some of the work as well as art history and practical art education. We may not think, however of how contemporary art is taken care of, especially as some travels around the country to regional galleries over several months and through lots of different weather and interior venue conditions.

As conservators, the intent of the artist is very important. Some contemporary art is made to deteriorate and decay. The goal is to see it as this happens and to record the process. In the end the only thing remaining may be the record via for example, photography or video, of the piece having existed. Some art is made for a specific event, or time period so the materials are selected to only last that long. The role of the conservator in these cases is to honour the wishes of the artist and to care for and maintain the work for the time that the artist wants it to and the exhibition organisers need it (hopefully these match).

The use of electronics and computers has added a new dimension to the conserving of an artwork. As we know, electronics go out of use and become redundant quickly. Display screens, monitors, storage via disk or hard drive changes almost yearly so works that relay on a specific technology to work have to have either spare parts to replace anything that may break down, or a way of keeping the intent of the piece but upgrade the technology in a way that is not visible to the viewer. If the artist is still available this can be done in consultation, if not, this is where artists need to document their works and their intent for them. This information will ensure that conservators keep the original creative intent of the artist as close as possible to the original as they care for their work.

For the exhibition at the McClelland Gallery at the moment, which is in conjunction to the art chat, pieces have been created by five current contemporary artists, and they all have their own conservation issues. The stand out ones have lollies as the main part of the work. For these there is a reserve to top them up as required. Long term display is not on the mind of the artist for these pieces, recording of them may be, via photography.

The use of acetate and plastics in contemporary works came into the discussion at this point. These materials can discolour, fade, crack and fall to pieces as they age. Lollies wrapped in cellophane need to be replaced as this also deteriorates. In a lot of cases recording the pieces via photography or video are the only options.

The big message in this talk has been for artists and conservators to document the work. This is especially important when the materials used can not be maintained, kept or restored. If the intent of the artist is for the work to deteriorate then the documenting must start with them so that everyone knows what is expected of them as they handle the work.

Conservators in Australia have a code of ethics (as do members of NAVA for visual artists, of which I am a member). This makes sure that if a trained and recognised conservator is handling your artwork, it is given the best care and you as the artist are always being considered.

Many may not know that when conserving a painting for example, the rule now is to always work so that everything that is done can be undone. For an oil painting this means that a protective barrier layer is put on first and special acrylic paint is colour matched to smooth out the look of a damaged painting. Varnish is very carefully removed and can take many hours, so make sure that none of the underlaying paint goes with it. There is a big difference between conservation and restoration which is not practised by most major galleries today. Work is stabilised rather than interfered with on a big scale. The original intent as far as can be established, is always honoured.

There are still big debates going on all over the world about how far we should take restoration versus conservation, not only in art but archeology as well. There are opinions from very well respected experts on every level from leaving something to naturally deteriorate to minimal conserving to total restoration. The recent work done on the ceiling of the Sistine Chapel and The Last Supper are a couple that come to mind. I only know for myself that losing a great work of art is a tragedy and if we can save them for the future we should try, with our best intentions of honouring the original artist.

For my own practice, this was a very informative chat. I had not thought about helping my clients to care for their purchases other than giving a little advice on where they may hang it so it lasts better and possibly framing information. I am now considering creating a handout with tips and ideas for long term care of their new artwork. Something that will help them to be able to pass on one of my paintings to their kids and grandkids (hopefully) as a family heirloom in good condition. I am also looking at the storage requirements for work that I have on site in my studio for artworks and materials in light of this chat.

As a follow up to the chat, McClelland is holding a FREE clinic on Saturday November 16th starting at 1.30pm.

There will be an hour talking about how to conserve art, focussing on paper in particular. From 2.30pm to 3.20pm there will be conservation advise, so you can take a small piece along to ask about conserving. These can be photographs, books, paintings etc as long as they are not too big. This is a great way to learn more about displaying your paintings, drawings and photos as well as storage of them. Valuations are NOT being offered at this session, so you can’t ask if you have a treasure on your hands, but you will find out how to care for it better! For artists this is an opportunity to learn more about creating art to last, storing your art and advising your clients on making sure they get a lifetime’s enjoyment from it.

If you wish to attend this event make sure you book with McClelland Gallery as soon as possible as places are filling fast.

Phone: 03 9789 1671

Email: info@mcclellandgallery.com

I am only a volunteer in the Educational Department at the gallery so I do not get anything financial or in any other way from promoting this event. This article is written for educational and informative purposes only.