Save the date for this London show presenting works by artists from the UK, France, USA and Chile. Artists include: Bill Komodore, Chris King, Erin Cone, Kimo Minton, Marcus McAllister, Maria Jose Concha, Mia Fernandes and Rob Tarbell.

Opening hours Mon-Fri 10-5.30, Sat 11-5.00.
Location: The Framers Gallery | Artefact Showroom
36 Windmill Street, London W1T 2JT
Tube stations: Goodge Street, Tottenham Court Road, Warren Street

This show is being jointly staged by Susan Mumford and MK Semos of Decorazon Gallery. Art pieces will look into the concept of memory both literally and conceptually. On show will be drawings (mixed media including pencil, paint and smoke), photographs, paintings, three-dimensional wall-based paintings and sculpture. Prices range from £200 – £6,750.

Please send us a message if you would like to arrange an early viewing or attend the private view.

Images above (from left to right):
Top row: Bill Komodore, Marcus McAllister, Mia Fernandes and Rob Tarbell
Middle row: Rob Tarbell, Chris King and Kimo Minton (two images)
Bottom row: Erin Cone, Mia Fernandes and Maria Jose Concha

Click on image to view in Google Maps

Be Smart About Art: Best practices in the art world
A fortnightly column by Susan Mumford for the Art, Antiques & Luxury Design Blog

Click here to read the article on the Art, Antiques & Luxury Design Blog
15th April 2012

This article is part two of a three-part series on online marketing. This piece looks at effective use of social media for art world professionals, including: 1. Regular updates for all social media platforms employed; 2. LinkedIn – why it is important; 3. Facebook – personal vs business use; and 4. Twitter – dos and don’ts.

1. Regular updates
A rule of thumb for online marketing is to keep all platforms up to date and regularly produce new content. When you decide to use social media professionally, you should have a plan in place in advance of “signing-up”. In regards to LinkedIn, your profile should be updated as soon as anything changes. For facebook and twitter, it is a matter of fresh content being presented.

Consider two circumstances:
What happens when you go on holiday for two weeks? Do you switch-off (as rightly deserved after working hard at fairs and exhibitions) and have no twitter updates?
What if you have a family emergency and are unexpectedly offline for a time? Does this mean that your updates will drop off a cliff?

Plan in terms of having a way to make updates on a regular basis. In order to ensure this, think about how you could share expertise in a long-term, prepared “campaign”. (See section 4 on twitter for more on this point.)

2. LinkedIn
There are many ways to use LinkedIn and I will cover basics, including why to signup in the first place and basic points on how to use it.

Why?
Firstly, LinkedIn is a hugely popular site for business professionals worldwide and consequently, it is commonly the first website presented when a person’s name is typed into a search engine. Therefore, having a profile helps people find you.

Secondly, it is common for people to research others in advance of commencing a working relationship. Accordingly, it is important to have a fully completed, up to date profile that reflects your knowledge and experience.

Your profile
The following items are imperative to include from the beginning:
•Your photograph (this gives people an image of you);
•A summary of your profession;
•Relevant work history in full, including experience and positions held;
•Education; and
• Websites and twitter name (as applicable).

Connections
Once you have completed your profile, request to connect with existing clients/associates as it is paramount, as a LinkedIn user, to be seen to have a LinkedIn network. You have to start somewhere, and once you have established even a few connections, you will likely find that existing contacts as well as people you meet at networking events will request to connect.

Profile credibility
Ask LinkedIn connections who are existing clients/associates to provide “recommendations”. These are testimonials that must be completed by your own LinkedIn connections.

Thirdly, LinkedIn is a great way to stay in touch with people even when contact details change – for example, when someone changes company or retires.

3. Facebook
Anyone who promotes business on facebook should have two different types of page: personal and business. The personal page is where people get to know you, the individual. Your business page, on the other hand, is accessible by the world and is the place to promote artists, exhibitions, events and the like. You will undoubtedly find that business professionals request to connect with you at your personal page, which is absolutely fine, so long as you are comfortable with this.

What you should not do is have a personal page only, and promote exhibitions, business events and your profession in general. This is how you will effectively lose friends or prompt them to hide your updates on their news feed.

Artists have a specific type of “artist” business page available to use, and dealers/galleries have a host of options from which to choose. Exhibitions and events should be created within that page, and shared with followers of the page as well as specifically selected friends.

4. Twitter
There is a fundamental principle for twitter. It is simple, yet so many people get this completely wrong.

Twitter is not a forum for constant self-promotion; it is a place for sharing knowledge, connecting with fellow professionals within your industry and beyond, cross-promoting with other businesses and professionals (“if you scratch my back, I will scratch yours…”) and then, only occasionally, promoting or linking to your own services.

Many avid users who “get it” do not actively sell via the platform yet they win business as a result; the expertise and fan base developed via the effective use of twitter sells itself. Such success is an example of the principle of “VCP” (Visibility + Credibility = Profitability) in action.

To run a campaign, one option is to present in-depth knowledge via daily tweets that are pre-scheduled (websites are available to help with this and I use Hootsuite). It is essential that such a regular automated campaign is complemented by “organic” tweets, as in, those that are sent by you personally, often in response to other tweets. For example, you can give insights into events/exhibitions you attend and present and articles you recommend.

Summary
In order to effectively use social media, you should choose the one(s) appropriate for you and use those regularly.
•LinkedIn requires upfront profile completion and offers an effective space for staying connected with others as well as enabling potential clients and associates to learn more about you – providing that your profile is kept up to date.
•Facebook offers fantastic opportunities for growing and promoting business, as long as you keep personal and business profiles separate.
•Twitter is a place to display your expertise, build a follower base and to effectively cross-promote with fellow professionals.

What are you waiting for?

Susan Mumford

Be Smart About Art: Best practices in the art world
A fortnightly column by Susan Mumford for the Art, Antiques & Luxury Design Blog

Click here to read the article on the Art, Antiques & Luxury Design Blog
2nd April 2012

Online marketing has become an essential element of business and many artists and art dealers have experienced remarkable success from effective website, blog and social media campaigns. Yet it is all too easy to jump on-board and make embarrassing mistakes, miss opportunities and overinvest.

This article is part I of a three-part series on online marketing. In this piece, three key points will be addressed:
1. Visibility + Credibility = Profitability (VCP)
2. The website is at the core of the online marketing strategy; and
3. Accessibility and ease

1. Visibility + Credibility = Profitability (VCP)
I originally learned this concept in relation to networking and now apply the approach to all forms of marketing for business. Only once a business or professional is found online (be that via a website, blog, YouTube or social media platform) and the viewer is confident in the individual or business’s expertise, will profitability follow.

There is no point in having the most beautifully designed website if it is not indexed by Google or search engines. And likewise, simply having online status is not enough; in order to prompt potential clients to take the next step and contact you, there needs to be clearly displayed evidence of your experience, professionalism and unique skill to help those seeking what you offer.

Several key ways to achieve visibility include:
•Have an effective SEO (search engine optimisation) campaign that includes keywording.
•For art businesses that represent famous artists or makers, run Google Keyword Campaigns in which the search engine displays a link to a website when specific words are typed into a search. (The link often directs the viewer to a specific page called a “landing page”, which then provides links to the rest of the website.)
•Present a mini-site within a large website that is well “indexed” by Google and search engines. This is effective as searches for keywords that are typed in web searches are more likely to display results from well-indexed sites, including pages within such highly-ranked websites.

How to achieve credibility:
•Present expert articles on a website or blog, in which you provide expertise on your profession.
•Display testimonials from clients on a website, blog and also on your LinkedIn profile. (Noting that “recommendations” on LinkedIn are effective as they must be submitted by the individual providing the referral.)
•Give free advice within social media campaigns (see my own #besmartaboutart tips on twitter).

2. The website/blog is at the core of the online marketing strategy
The website is the place where potential clients are converted into becoming a client, be that by placing an order, submitting an art work enquiry via an online form or picking up the telephone to ask about an available piece.

For example, when sending newsletters or setting up a social media page, it is essential to provide links to the website. This is a simple and absolutely essential rule, and I suggest having an image in your mind of your website being in the middle, with an outer circle of all other online platforms with arrows pointing to the website.

3. Accessibility and ease
It seems straightforward, however so many art businesses get this essential step completely wrong. Forget web pages that take time to load, and do not require visitors to click page after page to find something of use. Doing those two things is perfect for achieving high “bounce” rates, in which visitors go to the website and leave straightaway. The lower the bounce rate, the better. (If the bounce rate seems high, consider changing website layout and navigation.)

Ensure that the website is optimised for smartphones and iPads, noting that Flash does not work on iPhones and iPads. I recently discovered that 47% of the opens for an e-newsletter were done on iPhones, and accordingly experienced first-hand the importance of optimising e-newsletters and websites for these devices.

You also need to think about the internet savvy of your audience Are your customers likely to submit an online form, email or call? And is the audience varied in internet capability? A general rule of thumb is to take away as many barriers as possible and make it easy to receive an enquiry. Accordingly, list contact details on every page of a website and on the contact page provide a form, email address, telephone number and postal address.

Summary
•Maintain a mentality of VCP that you apply to everything related to online marketing;
•Remember that all online points to the website; and
•Ensure accessibility and ease for layout and navigation of the website, bearing in mind the internet savvy of the audience.

View a full list of published articles and posts.

Curvy World‘s Editor in Melbourne, Australia,  Nicole Tattersall, interviews Susan Mumford to glean advice for emerging artists who want to reach the international stage. Curvy World: Creatively inspiring, creative women, is a platform where the latest generation of female creative talent can shine.

What inspires you about Art & the Business of Art?
I have discovered a lack of business practices and standards in the commercial art industry – people seemingly make up the rules as they stumble along. Furthermore, being “commercially-minded” has traditionally been frowned upon in the visual arts. “It’s about art, darling.”

Having been in the art world for more than 10 years, I have come to the realisation that the truly successful artists and dealers know exactly what they are doing, commercially-speaking (though many would not dare confess this truth). People are so much happier and more confident when financially successful. I now frequently say, “You can only do the fun part of making and curating when you have the financial viability.” So I truly relish sharing experiences and knowledge of how to be commercially successful to help others have a profitable and increasingly enjoyable experience as an art professional.

You formed The Association of Women Art Dealers (AWAD) in 2009. Now almost 3 years on, what have been some of your biggest achievements with AWAD?
There are so many to mention!

Most recently, and in line with the collaborative nature of AWAD – not to mention being in the midst of unprecedented economic times – two of the twenty Founder Members, Francesca Fiumano and Barbara Stanley, with 19 years’ combined experience running art galleries between them, have teamed up forces to jointly operate out of Fiumano’s premises at 27 Connaught Street near Marble Arch. Using sensible business acumen, they have each maintained their independent identities as Fiumano Fine Art (specialising in contemporary Italian art) and the Barbara Stanley Gallery (specialising in contemporary Irish art). They work together on the annual exhibition plan, each staging a number of solo and group exhibitions under their independent identities and twice a year (at Christmas and in the summer) they hold a joint exhibition in which both dealers curate and present art.

Do you have piece of advice that you’d give to emerging artists who have a dream of reaching the international stage?
Six tips, in no particular order:
1. Maintain a job – or jobs – for as long as you need to do so, to fund your art career.
2. Participate in art courses to learn more about your medium as well as other areas of art.
3. Read the biographies of successful artists.
4. Engage in the art world by attending private views and develop a peer group of artists.
5. Actively exhibit your work in open studios, juried exhibitions, group shows and even stage your own shows. (According to a recent survey I conducted, artists attain representation by 1. Recommendations from other artists, 2. Recommendations by other art dealers/consultants and 3. By being spotted at exhibitions.)
6. Keep a positive attitude and stay focused on your goals.

What are you thoughts on digital media and the influence it has had on the artworld globally?
Digital media has really opened up opportunities for contemporary artists. Artists can more effectively promote their own work if they don’t have representation by an art dealer, which has advanced the position of many artists all over the world. Many have launched successful careers with effective social media campaigns alone. And websites enable people all over the world to view an artist’s work. Indeed, having an artist website is now an absolute essential for being taken seriously as a professional artist.

In 2012 your starting off with Be Smart About Art courses, are there any other projects you have coming up in 2012?
I am concentrating on development and growth of my three art enterprises: Susan Mumford art projects + consultancy, the Be Smart About Art Academy and the Association of Women Art Dealers.

Be Smart About Art: Best practices in the art world
A fortnightly column by Susan Mumford for the Art, Antiques & Luxury Design Blog

Click here to read the article on the Art, Antiques & Luxury Design Blog
18th March 2012

The early days: Artist websites
I was running my Soho, London, gallery when artists began to setup their own websites. This needn’t impact on the traditional artist-gallerist relationship, as gallerists simply requested that artists present names and contact details of all dealers/reps on the “Contact” page of artists’ websites – hence not providing direct access to artists. Any potential enquiries would be directed to the dealers, as per usual.

Many professional artists were happy to do this and a number still do this today, as they prefer to focus on producing art and remaining in “right brain” mode, without distraction from the world. Fast forward to 2012, and the situation has changed, again.

Hello, social media
Without possessing a comprehensive understanding of social media, one might be of the opinion that artists and dealers should carry on as they have previously done, applying the above scenario in regards to websites. However, social media – including facebook, twitter, LinkedIn, Pinterest and more – has fundamentally changed the ability to access individuals. This applies across the board, from celebrities to CEOs, from politicians to artists, and so on. People want direct access to people – or at least want a sense of this – thus bypassing traditional gatekeepers. In the traditional artist-gallerist relationship, the gatekeeper was the gallerist/dealer, or a gallery manager.

Acceptance
The day of the dealer holding artists close to their chests without enabling direct contact between artist and collector is a notion of the days gone by. Art dealers or gallerists who have not accepted this new reality will soon find they are dinosaurs in a changed art world. So, what is the 21^st Century dealer to do?

The good news: artists and representatives still need one another. Yes, it is true that more artists self-represent than in the past, and online marketing is a significant element in artists’ success with the endeavour. However, established, full-time makers would still rather spend time in the studio whilst the dealer handles sales, marketing and communication on their behalf. Indeed many artists, both full-time artists and those who are part-time artist and part-time teacher, simply are not interested in marketing and sales. That is – at least, not all of the time. Many artists realise that being represented by a dealer puts them in front of many more potential clients by the very fact that art collectors would rather visit a gallery that represents the type of art the collector seeks. This saves the collector a significant amount of time compared to individually visiting artist studios. Savvy artists will ultimately partner with a dealer, regardless of their ability to self-represent.

Communication and collaboration
With such online accessibility to any individual in the world, it is paramount that the parameters of the artist-gallerist relationship are clearly defined in every artist and dealer relationship, and this includes dealers clearly spelling out how they make a living – that is, by selling work by makers they represent and with whom they collaborate. Artists must comprehend and support this notion, as without commercially-viable dealers, artists will have no choice but to self-represent.

For example, a gallery might require that all newly created pieces are consigned to them for a certain period of time after which point the artist may exhibit the pieces elsewhere. Or, it might be that the artist agrees to send all clients via the gallery, whilst maintaining good contact with clients who make use of personal communication methods available via online platforms such as twitter.

Best methods for communication between artist and dealer should be established, and a collaborative working relationship is to be actively worked on by both parties. The artist and gallerist should equally contribute to the relationship – and just like a personal relationship, the balance should be 50/50. A relationship – either professional or personal – should focus on giving, contributing, helping and supporting; it is not about taking from one another. Each equally contributes, and all artists and dealers should remember this 50/50 principle.

Transparency
Should a collector directly contact an artist and attempt to undercut the gallery, transparency with the gallerist/dealer is a must. Should the artist be uncertain about what to do, they should contact the dealer. It might be that the artist sends the client to the gallery, or otherwise charges the client the full “market” or “retail” price, and sends the gallery the appropriate commission. Regardless of the individual agreement between the two parties, the artist should not undercut the gallery price, at any cost. This destroys trust, undermines the relationship and adversely impacts on the market value of an artist’s work. The notion of transparency should be applied to all aspects of the artist-gallerist relationship, as without it, communication breaks-down, and so does the working relationship itself.

Trust
Regardless of an individual agreement, communication methods and so on, the key, underpinning ingredient to the artist-gallery relationship is the same it always has been: Trust. Without this, there is no working relationship to discuss. This component must still be maintained in the digital age and requires each party to embrace that accessibility to the artist has changed.

Summary
It is essential that, in the digital age, dealers and gallerists accept that artists may easily be contacted by anyone. Rather than say nothing and hope for the best, dealers should embrace reality and address the accessibility of online communication. With the world seeking direct access to artists, a communicative, collaborative, transparency-based trusting working relationship between artist and dealer will profit from moving forward with the times. Dealers/gallerists will continue to promote, support and sell work by artists for long-term mutual benefit.

View a full list of published articles and posts.

The Be Smart About Art Academy presents an evening panel event: “Pop-up shows: How to make them a success, and avoiding pitfalls”

When: Monday, April 16, 2012, 6:45–8.30pm (networking until 9pm)
Please note that the event date has changed from 18th to 16th April.
Where: O2 Worshop, 229 Tottenham Court Road, London W1T 7QG
Price: £25 (Early Bird tickets only £15!)
Click here to register for this event

Who is not aware of the recent(ish) phenomenon, the pop-up? That is, pop-up art exhibitions, restaurants, jewellery shops… You name it, it probably also takes place in a pop-up format. “Pop-up” was even said to have been the most overused word in the art world in 2011. So, how do these pop-ups work, anyway? Surely, pop-ups in existing galleries charge for space hire, but what about empty shops? What about listing a non-official venue in marketing listings? What are the creative considerations? And, what about insurance and legalities?

We have invited a selection of panellists who have had good, bad and fascinating experiences with pop-ups, to give us the good news, as well as the bad. They are: Dan Calladine of LondonPopUps.com, Isobel Beauchamp of DegreeArt.com, Sylvie Gormezano of Picture This Productions and Will Lunn of SumarriaLunn.com. The panel event will be moderated by our very own Susan Mumford. Following an overview by each presenter and a moderated conversation, the panel will open up to the audience for a Q&A session.

We aim to establish by the close of the evening:
Gallery or Pop-Up? The pros and cons of each, and
Best practices for holding pop-up shows

As part of the evening, guests will also be able to find out more about the Be Smart About Art Academy’s Course I for Gallerists/Art Dealers: The Fundamentals and about how to apply for the course.

Remember that places are limited so please book now to reserve your place!
Click here to register for this event

Enrolled students of the Be Smart About Art Academy will be provided a password to book as this workshop is free for current students. (It is still essential to reserve your place.)

Note that refunds are not available after you have placed your booking.

Photos by MK Semos © 2012.

Selling art in installment payments:
Agreeing payment terms with the client… and not forgetting the artist

Click here to read the article on the Art, Antiques & Luxury Design Blog
3rd March 2012

I was recently contacted by an art dealer friend, in regards to a problem he encountered when an artist became unhappy in regards to arrangements that had been made by the dealer to accept payment by installments for the sale of a work of art. Issues in regards to the arrangements for and realities of selling art by installments are common amongst primary and secondary market art dealers alike.

It is a given by commercial art industry professionals that, in such times of uncertainty, it is better to make a sale than not, even if such requires waiting a period of time to receive full payment. Accordingly, I will not address the pros and cons of receiving payment in full versus payment by installments, and will rather present a set of best practices for selling art by installment payments.

Point number 1: Payment terms with the client.
There are two options for payment terms; 1) Agree regular payments and the client only takes possession of the acquisition upon making full payment, and 2) Arrange payment via a credit facility (such as the Arts Council of England’s own art scheme for contemporary art purchases of a value up to £2,000), in which the dealer receives full payment from the credit facility provider and the client takes possession after the credit facility has been approved.

Note on the first option above: It is essential that payment terms are agreed in writing and confirmed by both seller and buyer. In addition to specifying payment dates, amounts and method (cheques, bank transfer etc), a solution should be provided should the client fail to pay the full amount (e.g., forfeit £x amount, client to receive a full refund or other) or fall behind in payments. For watertight agreements with clients, it is recommended that art dealers have a template created by a solicitor that may be used for future payment in installments sales.

Sounds easy, doesn’t it? Do not ever forget to cover your back, even when you think you can trust the buyer with your life. A purchaser’s personal life circumstances are out of your control, and anything can happen. It is paramount that you put in appropriate measures to protect yourself and your business, should the buyer fail to pay in full or fall behind.

Point number 2: Payment terms with the artist.
Returning to the original story above… The artist verbally agreed that the dealer may go ahead in selling a painting by installment (this was approved in advance of the sale going ahead). Furthermore, the artist verbally agreed that he understood that he (the artist) would receive the total amount of payments until his full value of commission had been paid – only after which point would the dealer start to retain his own portion of sale commission due. However, the artist did not welcome the reality of receiving installment payments over a period of time. This caused conflict, and ultimately the artist-gallerist working relationship fell apart.

Communication and putting arrangements in writing are critical. The two options are:
1) When a credit payment arrangement is not available, the best approach is to put terms in writing (approved by both parties and preferably drafted by a legal authority), from day one of the artist-dealer relationship. If the artist is not prepared to sell work by installment, I suggest the dealer ask him/herself: Is it really worth representing the artist at all?

2) The second-best approach is to put the payment by installments agreement in writing at least before the transaction goes ahead (if this was not agreed at the beginning of the working relationship). Even if the art dealer is selling at an art fair abroad, the arrangement should be put in writing.

Key points to cover in the agreement include (noting that a solicitor’s advice should be sought to incorporate all eventualities):
• Timing of when the artist will be paid (how soon after the dealer receives each installment payment from the client);
• How much will the artist receive of each installment made (for example 100% until full commission amount due to artist has been received);
• What will be done if the client fails to pay in full; and
• Confirming that the client will not be in possession of the work of art until the dealer has received payment in full.

In summary
Verbal agreements are NOT recommended for arranging payment by installments sale terms with a client or artist; it is essential to have such terms confirmed by both parties, in writing. Clearly, without an agreement in writing, one lacks proof in the case that another involved party becomes unhappy or does not hold to the agreement at some point in the future. Equally, such arrangements in writing can prove to be a useful resource going forward, as both parties have a clear point of reference.

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This article is written as general advice for professionals in the commercial visual arts. Susan Mumford and associated organisations do not guarantee any income or results whatsoever as a result of you reading this article. Susan provides advice and tips, however you are responsible for your own results.

Photo © Chris King 2012.

The Design Trust‘s blog spoke with Susan Mumford for expert advice in their very own agony aunt column, the Design Doctor.  “Help, I have a dispute with my art consultant”. Read the full article by Patricia van der Akker.

An excerpt from the article:

I have got a couple of problems with my Art Consultant.  I am a designer maker and sell through an art consultant who sell art and applied arts for offices and interiors.  It has been a really grey area and very confusing when interior designers and architects in a project are promoting or selling my work as an artist. I especially want to know what happens when you send larger work to an art consultant for client viewing and approval before purchase.

Susan: ‘This depends on the agreement between the two parties, which should be made in advance of initial delivery and should also incorporate return of work in the case that a work is unsold. Agreements can vary, largely depending on the situation for example shipping abroad versus delivering locally, or the size or weight of item(s) being delivered.

In my capacity as an adviser to commercial visual arts professionals, I recommend… Click here to continue reading.

The Be Smart About Art Academy presents “The secrets for a successful Artist – Gallery partnership”

When: Monday, March 19, 2012, 6:45–8.30pm (networking until 9pm)
Where: Fiumano Fine Art, Gallery, 27 Connaught Street, London W2 2AY (View map)
Price: £15 (Early Bird tickets only £5!)
Click here to register for this event

For this evening panel discussion, Susan Mumford will moderate the event with two London gallerist presenters: Charlie Dutton of Charlie Dutton Gallery and Francesca Fiumano of Fiumano Fine Art. Presenters will each give an overview of the artist-gallerist relationship and Susan will conduct a moderated discussion with the two gallerist guests, followed by an in-depth questions & answers session with the audience.

Workshop insights:
As an artist, do you wonder what you should expect from your gallerist / agent? Are you concerned about having a professional working relationship in which you are treated fairly and according to established art world business practices? Do you wonder what you could do to improve your existing or potential artist-gallerist relationship?

The workshop will:
•Cover highlights of what a visual artist can expect from a gallerist / art dealer;
•Learn select best practices for the artist-gallerist working relationship;
•Address questions about representation exclusivity and studio versus gallery sales;
•Give top tips on what NOT to do (things that may jeopardise the artist-gallerist professional relationship);
•Advise what you SHOULD do (proven to contribute to a good working relationship with your gallerist) and expect;
•And more!

You will come out with an improved understanding of best practices for having a successful, profitable & enjoyable artist-gallerist relationship.

As part of the evening, guests will also be able to find out more about the Be Smart About Art Academy’s Course I for Artists: The Fundamentals and about how to apply for the course.

Remember that places are limited so please book now to reserve your place!

Enrolled students of the Be Smart About Art Academy will be provided a password to book as this workshop is free for current students. (It is still essential to reserve your place.)

Note that refunds are not available after you have placed your booking.