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Exhibitor Resources


Gallery 1010 is a contemporary art exhibition space located in downtown Knoxville, Tennessee. One of three University of Tennessee School of Art galleries, Gallery 1010 is the only fully student-run, non-profit, off-campus exhibition space in the state of Tennessee.  Exhibitions feature work from University of Tennessee students and alumni, as well as artists from other universities and community programs. The mission of Gallery 1010 is to provide space for the University of Tennessee community of artists to experiment and develop new ideas while gaining educational gallery experience in professional standards and practices.

Gallery 1010 provides an opportunity and location for artists to exhibit their work in a professional gallery off-campus; an exceptional opportunity not commonly available at other Universities. The gallery engages the university, the growing downtown Knoxville gallery district, and the community at large by consistently exhibiting innovative, contemporary art work.

The gallery maintains a full and intensive weekly program of well-presented, professional exhibitions. Artist Exhibits run for one week and are attended by over 5,000 visitors each semester. Every week the gallery hosts two different artist exhibitions, a One Day Pop-Up and an Artist Exhibition; totalling around 32 exhibits per semester. The gallery is open Tuesday, Friday, Saturday, and Sunday 12-4pm, with artist receptions every Tuesday and Friday from 6-9pm. Exhibiting artists have from Wednesday to Friday of the week to install their exhibit, then deinstall or “strike” the show on Monday/Tuesday, leaving the gallery clean and ready for the next artist on Tuesday to install a Pop-Up exhibition for 24 hours, and the process starts again.


Yes! 1010 is available to all undergraduate and graduate students at the University of Tennessee. In addition, students from other universities and artists outside of the School of Art are welcome to have work exhibited, but only through nomination and representation of a UTK student. Applications deadlines are once a semester for the following semester schedule.

We encourage applications from diverse backgrounds and practices. Selections are made by a committee of undergraduate and graduate art students based on innovative and thoughtful proposals with care to reflect diversity and fairness among selections. Artists are welcome to submit proposals for solo exhibits as well as group exhibits. It is encouraged that artists with applying for the first time propose a group show with peers to spread workload commitment.


Proposal application materials include: application form, artist statement, brief description of proposed exhibit, 10 digital images of your work (5 images for a Pop-Up), and a corresponding image list. Please view actual application for precise details, including information for group shows. When preparing application materials it is highly recommended that you meet with an instructor, professor, or advisor who you have worked with that can assist you. The application process is highly beneficial as a professional practice, and is similar to other exhibition opportunities in the field.


Yes! “ART 301: Student Exhibition” is a course specifically geared toward undergraduate exhibition opportunities like Gallery 1010. Contact Ellen Orner in the School of Art Office to inquire.


Choose the type of show that best fits your ideas:

(you are by no means limited to these options)


You’re the boss! You wear the artist hat when you make the work, now you must put on your curatorial hat to decide how it should be experienced by your viewers. You will submit an application with your artist statement, and a brief description of the proposed exhibit. Yes, those are separate statements. This is where you’re curator hat comes in, think about a body of work you want to show. Generally, that won’t be of all the work you’ve made ever (assuming we’re too young for a retrospective) or even all the work you’ve made this semester, it might not even include the best thing you’ve ever made. In fact, exhibition proposals that show a focused selection of work tend to be stronger. Next, you will submit images of your work, and don’t forget an image list. Think of this exhibition proposal as an opportunity to see your work differently, so get creative with how you show it. Maybe that means a performance piece, a site-specific installation, or screening a selection of your films. Remember, you’re the boss!


You and 1 other artist are going to exhibit your work together, yay! This could be work that you’ve made collaboratively or just showing your work side by side, it doesn’t need to be an equal balance of work from each artist either. First things first, you must decide who is the main contact person for the exhibit, this person is required to be a current UTK student during the semester of the proposed exhibit. The second person is not required to be a UTK student, but please make sure you have a good line of communication with this person and you have the funds and means to get the work to the gallery. You will fill out an application together, and the main contact person will submit it. Then submit 2 artist statements (one for each of the artists), and a brief description of the proposed exhibit. Lastly you will submit a selection of images of both artist’s work, and don’t forget an image list. When proposing a two person show, ask yourself some questions. Why this work is being shown in the same space? What connects the work (or is juxtaposed) that makes the exhibit interesting to your viewers?


The more the merrier! You and some other artists (2 or more) are going to exhibit your work together. You might choose this option because you’re all making work for the same class, or maybe you have a big collaborative project, or that you’re work just belongs together. First things first, you must decide who is the main contact person for the exhibit, this person is the only artist that is required to be a current UTK student during the semester of the proposed exhibit. You will also need to decide a secondary contact. The 2 main contacts will fill out the application, and the main contact person will submit it. Then submit as many artist statements as there are artists, and a brief description of the proposed exhibit. Lastly, you will submit a selection of images of the artist’s work, and don’t forget an image list. Remember, more people means more communication. Getting work from various locations can be a tricky and costly task, the more you plan and communicate the better. Remember, just because there are ties among you as a group of artists that doesn’t mean the work will be cohesive. Group exhibition proposals that show a focused selection of work for a specific goal tend to be stronger (edit, edit, edit!)


So you’ve decided there’s this artwork that has to be shown, and you’ve got a vision of it all together, great! So you might ask, how is this different than a group show? Firstly, the curator is the boss, and therefore has control over what artwork is shown from which artists and how,  rather than a collaborative process among the artists in a group show. Secondly, the curator often doesn’t show their own work, although this is not a rule. There can be more than one curator of course, but you must be able to make executive decisions as a group of curators. Proposing a curatorial project at Gallery 1010 is a great opportunity for students interested in museum work. First things first, you must decide who is the main contact person for the exhibit, this is the only person that is required to be a current UTK student during the semester of the proposed exhibit. You can put a secondary contact on the application if there is a second curator. The main contact(s) will fill out the application, and the main contact person will submit it. Next, instead of an artist statement, you will submit a curatorial statement that will outline your position and goals as a curator, or group of curators. You will also submit a brief description of the exhibition, keep in mind these are two separate statements. Additionally you will submit a selection of images of the work you might include, and don’t forget an image list. Curatorial proposals that show a focused selection of work for a specific goal tend to be stronger. You can showcase work from anywhere and by anyone just make sure you have the funds and the means to get the work to and from the gallery. Although the title suggests that this type of proposal be formal, it can take several other forms such as a booth style arts and crafts fair, a film festival, or poetry reading.


Have an insane idea and need a space for 24 hours? Did you get an idea mid semester and want to do it in 2 weeks? New for Fall 2017, we’re allowing shows on Tuesdays in addition to weekend exhibitions. Really this can be any of the 4 types of shows listed above, but the key difference is that install, reception and striking all happens in 24 hours. This type of show is ideal for experimental installations, performance, happenings, music, poetry readings and more. There is a separate application form on the website and there is no deadline since proposals will be accepted at least 2 weeks in advance on a rolling basis, first come, first serve. Trust me, you will need that two weeks to promote and figure out the details. Follow instructions above for how to proceed with your awesome proposal, just select the type of show that best fits your ideas.



Below are some guidelines to consider when writing your artist statement. We are only looking for a very brief artist statement (a couple paragraphs). It might be the very first time you are writing something like this, but look over these guidelines to get a feel for what what an artist statement is meant for.

from Getting Your Sh*T Together: Professional Practices for Artists

What Is an Artist’s Statement?

  1. A general introduction to your work, a body of work, or a specific project.
  2. It should open with the work’s basic ideas in an overview of two or three sentences or a short paragraph.
  3. The second paragraph should go into detail about how these issues or ideas are presented in the work.
  4. If writing a full-page statement, you can include some of the following points:
    • Why you have created the work and its history.
    • Your overall vision.
    • What you expect from your audience and how they will react.
    • How your current work relates to your previous work.
    • Where your work fits in with current contemporary art.
    • How your work fits in with the history of art practice.
    • How your work fits into a group exhibition, or a series of projects you have done.
    • Sources and inspiration for your images.
    • Artists you have been influenced by or how your work relates to other artists’ work. Other influences.
    • How this work fits into a series or longer body of work.
    • How a certain technique is important to the work.
    • Your philosophy of art making or of the work’s origin.
  5. The final paragraph should recapitulate the most important points in the statement.

What an Artist’s Statement is NOT:

  1. Pomposity, writing a statement about your role in the world.
  2. Grandiose and empty expressions and clichés about your work and views.
  3. Technical and full of jargon.
  4. Long dissertations or explanations.
  5. Discourses on the materials and techniques you have employed.
  6. Poems or prosy writing.
  7. Folksy anecdotes about some important event in your life.
  8. Nothing about your childhood or family unless it is very relevant to your work.
  9. Not a brag fest or a press release.

Why Write an Artist’s Statement?

  1. Writing an artist’s statement can be a good way to clarify your own ideas about your work.
  2. A gallery dealer, curator, docent, or the public can have access to your description of your work, in your own words. This can be good for a reviewer as well.
  3. Useful in writing a proposal for an exhibition or project.
  4. It is often required when applying for funding.
  5. It is often required when applying to graduate school.
  6. It can be a good idea to include an artist’s statement when your slides are requested for review or your work is included in the slide library of a college or university.
  7. Good to refer to when you are preparing a visiting artist lecture, or someone else is lecturing or writing about your work.
  8. Useful when you are applying for a teaching position.
  9. Good idea when a press release is being written.
  10. Useful when someone is writing about your work in a catalog or magazine.
  11. Useful when someone else is writing a bio for a program brochure.
  12. It is a good way to introduce your work to a buying public. Often the more a buyer knows about your work the more they become interested in what you do, and in purchasing a work.

Types of Artist’s Statements You Might Need:

  1. Full-Page Statement: This statement you will use most often; it speaks generally about your work, the methods you may have used, the history of your work, etc. It may also include specific examples of your current work or project.
  2. Short Statement: A shorter statement that includes the above in an abbreviated way, or is specific to the project at hand.
  3. Short Project Statement: A very short statement about the specific project you are presenting.
  4. Bio: Often a short description of your career as an artist and your major accomplishments.

How Should I Write It?

  1. This most often depends on the context where it will appear. Who is your reader? What assumptions can you make about their knowledge?
    • Emotional tone
    • Theoretical (but not over-the-top)
    • Academic (but not dry)
    • Analytic
    • Humorous
    • Antagonistic
    • Political
    • Professional
  2. Ask yourself “What are you trying to say in the work?” “What influences my work?” “How do my methods of working (techniques, style, formal decisions) support the content of my work?” “What are specific examples of this in my work” “Does this statement conjure up any images?”
  3. Use a word processor so that you can make changes and update it often. You should keep older copies so that you can refer to them if you should need to write or talk about your older work or if you have a retrospective.
  4. Refer to yourself in the first person, not as “the artist”.  Make it come from you. Make it singular, not general, and reflective of yourself and your work.
  5. Make it clear and direct, concise and to the point.
  6. It should not be longer than one page.
  7. Use no smaller than 10 – 12 point type. Some people have trouble reading very small type.
  8. Artist’s statements are usually single-spaced.
  9. Do not use fancy fonts or tricky formatting. The information should wow them, not the graphic design.


  1. Who is your audience? What level are you writing for?
  2. What will your statement be used for?
  3. What does your statement say about you as an artist and a professional?


  1. Be honest.
  2. Try to capture your own speaking voice.
  3. Avoid repetition of phrases and words. Look for sentences that say the same thing you said before, but in a different way. Choose the better of the two.
  4. Vary sentence structure and length. The length of a sentence should relate to the complexity of the idea.
  5. Organization of detail is important. Significant ideas should be at the end of each sentence for emphasis.

Where Should It Go?

  1. In a binder at the front of the gallery with your résumé, list of artworks, and past reviews or articles about your work.
  2. You may want to hang it on the wall, regular size, or enlarged as a didactic statement.
  3. Include it in a program for performance, screening, or panel.
  4. In the application package of the grant you are applying for.
  5. Give to anyone who you feel would benefit from the information.



Distinct from your Artist Statement, your Exhibition Proposal is a rough plan of what you plan to exhibit in the gallery. Your proposal for an exhibition could range from a collection of the best from a series of work, or your recent experiments in a new material or idea. Explain your plan in clear and direct language. Not everyone makes similar work or knows what your work is like, so describe your plan as you imagine it to exist, and to someone who doesn’t know you.

Consider: What do you imagine your show looks like upon first walking in? What do we see? Is it an exhibit of drawings in frames on the wall? Are you installing ceramic vessels on pedestals? Video projection on the wall? An installation of folded paper in one corner of the room? Sixty televisions playing Adam Sandler films? Three performers reading from an installation of stacked telephone books? etc. WHAT IS IT??

Here is a made-up example of the beginning of a proposal:

“I have been making these colored pencil drawings all year, and now am thinking about how the marks I am making translate onto the structure and glazing of ceramic forms. I have started a few and am excited by the direction they are headed toward. I hope to have around twenty of them by next fall and would like to show them along with the drawings that they were inspired by. I have submitted 10 images of the drawings, and 2 of the recent ceramic forms as an example of what they will ideally resemble.”

It is not necessary to know the exact details of everything in a future project, but instead a rough but thoughtful plan of what you have in mind in terms of interests, research, and materials. OF COURSE, the exact details are likely to change as your work progresses and your show date approaches, but what is important is that the central idea stays similar to the original plan, and that your proposal seems possible, plausible, and reasonable to the selection committee. A well-drafted Exhibition Description will also have a logical connection to your Artist Statement. OF COURSE, we do not expect all of the work to be completed already, so if your images and description do not exactly correspond, include a note to explain. “This earlier work contains similar ideas or materials, and is submitted as an example of my work ethic or direction”, etc.

Previous Exhibition Proposal examples:

Nathan Clark

My intended exhibit is a 4-minute video installation entitled “RIDE OR DIE.” This piece utilizes manipulated found footage from the Fast & Furious films, one of the most enduring and ever-popular of modern American movie franchises. The Fast & Furious films have fascinated me for years; the first entry in the series was made before 9/11, and the entire franchise seem to exist in an alternate timeline in which the events of that day never happened and the multiracial rave of the 1990s never ended. These films are predicated on a tension between reality and fantasy, between the infinite bodies of action stars and the expendability of the machines they operate. The tension between these two modes turned tragic on November 30, 2013, when Paul Walker passed away in a car accident. Despite the durability of his on-screen persona, Paul Walker’s death proved that his real body was all too mortal.

“RIDE OR DIE” opens with a selection from Dziga Vertov’s “WE: Variant of a Manifesto,” published in 1919, which praises the dependability of machines and proclaims that man is an unsuitable subject for film due to his inability to control his own actions and movements. The piece then uses six video panels to chronicle the on-screen relationship between Dominic Toretto (Vin Diesel) and Brian O’Connor (Paul Walker) as the two men race each other and rescue one another over and over again on a last ride that, thanks to cinema, can extend into infinity. As Dominic continues to age and live on, Brian progressively fades until the details of the footage in his panels are almost impossible to make out. This fictional friendship is pulled back to reality by the appropriation of Vin Diesel’s homemade cover of the Rihanna song “Stay,” which functions within the piece as a form of narration. We are reminded that, despite our ability to replay and re-watch movies, our own memories are forever fading out. Vin and Dom both sing to their fallen friend, who exists within movies but is no longer with us in reality. The footage and music loop continuously as the audience follows along, reliving cinematic memories while confronting their own perceptions of celebrity death and reckoning with the false invincibility of action heroes. Screenshots from the film will accompany the projection on the surrounding walls.


Byeol Shim

My Strange Things exhibition will include a combination of figurative clay sculptures and paintings. Clay sculptures will be exhibited in the middle of the gallery, and paintings will be hanging on both walls surrounding the sculptures. Because the paintings are much larger than the clay figures, I hope to create a strange environment that will let the audience sympathize with the clay figures while they share the same space. There will be approximately 8 paintings and 2-3 clay pieces, and most of the artworks for the show will be mixed media. One of my clay pieces, “It was just a passing shower,” is composed of nearly 300 individual figures, and is glazed with various colors in order to show a wide range of personalities. Most of my paintings, on the other hand, are in acrylic in a brighter color palette. Overall, I imagine an engaging space that combines 3-dimensional and 2-dimensional work.


Upload 10 digital images of your work (for 2–4 person shows, provide at least 5 images per artist; for shows larger than 4+ exhibitors, or curatorial projects, provide at least 1 image per artist, equaling a total of 10 – 15 images).

Digital images MUST be in jpeg format, 72 dpi, and sized 1200 pixels on the longest side. The name of each file must begin with the artist’s last name followed by the image number corresponding to the image list (Lastname01.jpg). Video files must be formatted as .mov files, viewable on a Mac, and not exceed 2 minutes per files. No raw Final Cut, AfterEffects, or iMovie will be viewed.


Please create a Word .doc or PDF with an Image list corresponding to order of digital images. Provide: Image File Name/Number, Artist Name, Title of Work, Medium, and Date of Completion,

Ex:    Smith01.jpg

Jane Smith

Process Painting

Oil on canvas



You will be responsible for all aspects of your show, we’re here for support and advice, but again we’re getting you ready for the real thing.  It’s good to start preparing yourself for the work ahead. Exhibitors are responsible for the following:

  1. Creating, printing, and distributing promotion materials for the show.
  2. Designing, ordering, and hanging vinyl lettering on the gallery wall.
  3. Preparing the work for exhibit. (i.e framing, info tags, etc.)
  4. Securing all equipment required to show the work.
  5. Installing the show.
  6. Sitting the gallery, and greeting visitors.
  7. De-installing the show and cleaning the space. 
  8. Documenting the show, and editing the images/video.


Download the zip drive below containing an Illustrator template (Tabloid Poster, Postcard and Digital announcement) Fonts, and design instructions.


Each artist/exhibitor is required to promote her/his exhibition at least two weeks in advance. Failure to do so will result in forfeit of deposit. This has been put into effect to both bolster the online presence of the gallery and to ensure that the space retains a vibrant presence in the Knoxville community.

Promotion must include (but is not limited to) the following:

–registration of the exhibition through Locate Arts

–registration of the opening on School of Art calendar

–Email jpeg of digital postcard for the for the School of Art’s email listserv. Send jpeg to Admin Assistant Stephanie Phillips (

Artists/exhibitors must email their digital postcard along with links to the postings on LocateArts, SOA Calendar a no later than two weeks prior to their opening.


All exhibitors are required to install vinyl lettering on the wall of the space during their exhibition. The lettering must contain at least the exhibitors name(s) and show title, but could have more (i.e. curatorial statement).

To start create an illustrator file of the text you want printed. Make sure the document size and layout is the same size and layout you’d like the vinyl lettering to be. You will then give this file to a vendor to cut.

We recommend you order vinyl from Allen Sign. Please note they require a week of lead time. Illustrator files can be emailed to

















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