Showing posts with label art community. Show all posts
Showing posts with label art community. Show all posts

Connection

(a version of this is also posted on Make28)

During yoga class the other day, my teacher was talking about the theme for the week - finding the extraordinary in the ordinary. She said something about "connection," and that stuck with me. During the rest of the class, I thought about the concept of connection as it relates to Make28.

Make28 is a project that was dreamed up by my online friend, Consumatron. He set a goal for himself to create a video every day in February, and he challenged everyone to join him by making something every day as well. So a few of us joined in and have also been making stuff - food, paintings, videos, drawings, journeys, enemies, music...

This project has created many connections, the most obvious being the connections we made with each other. I've really enjoyed seeing what everyone's made, how they interpreted the concept of "making," and glimpsing a little bit of everyone's creative processes. I love to see how other people work, create, and solve problems, even in different disciplines.

In Fearless Creating, Eric Maisel mentions the importance of getting together with other artists. "If you are a novelist, when do you meet with painters, dancers, musicians, and filmmakers to talk about your mutual concerns? When do you meet to discuss selling art, managing depression, or surviving as a truthful witness in America? My estimate would be never. This is really too bad. ...you will surely suffocate if you live in a vacuum."

I think projects like Make28 can be an important part of a creative life, creating connections with others working on different things, but with the same goal.

During these 28 days, I've also made some less obvious connections. Just the act of sitting down and making something every day has helped me to connect more with my creativity. Even if what I made wasn't that great or if it's not related to bigger things I'm doing, I know that what I'm making now will inform something else that I make in the future.

Here's a collection of the things that I made during February:

You can see more in my Flickr set. And the whole Make28 Flickr pool.

How do you make creative connections?

Oh, and Make28 will continue, so feel free to join in!

Creativity

Being part of the Make28 creativity challenge, has made me focus on making something every day. And that's got me thinking about creativity and all its forms.

So I've been extra sensitive to information about creativity and of course, I start seeing it everywhere, or at least I start paying attention.

I thought I'd share a couple of videos with you. They've been making the rounds, but perhaps you haven't seen them yet.

This is from Atlanta based editorial photographer, Zack Arias:


And this is a TED talk by Elizabeth Gilbert:


I'll be posting more soon.

Staying Positive

Despite the downturn in the economy, I've actually had my best year yet as an artist, so it's not too hard for me to stay positive.

But if you're overwhelmed with all the bad news on the financial front, watch Alyson's Stanfield's inspirational video:



Speaking of practicing gratitude - thanks Alyson, for all the support and encouragement that you give to artists!

Some Like It Hot


I have work in a group show that opens this weekend in Dallas. It's a show of work by members of TexasWAX/Dallas.

Some Like It Hot
Artwork by Members of TexasWAX/Dallas

Curated by Janet Reynolds

Bath House Cultural Center
521 E. Lawther Drive, Dallas, Texas

August 30 - September 27, 2008

Reception: August 30, 7-9 pm

Encaustic Demos: September 13, 2-5 pm
In conjunction with the DADA art walk

Hope to see you there!

Creative Endeavors and Do-It-Yourself Projects

Colleen Cook, my oldest friend (and by "oldest" I mean the one that I've known the longest), was recently the featured blogger at Kidlit Central News. In her post she compares writing to do-it-yourself home renovation.

I think some of her points can be transferred to almost any creative endeavor, especially trying to "make it" as an artist.

These points resonated with me:
"Reading how-to books helps, but it won’t make you a professional."
and
"The only way to become a true craftsman is to slop on comfy clothes and do it every day for years and years."

Most of the other points can be applied to visual artists as well, either in building a career or just creating a single painting, drawing, sculpture, etc.

The last point reminds me of this video that I saw recently, where Ira Glass of This American Life talks about how to be a great storyteller. He's talking specifically about radio and television, but it can relate to visual art as well:



I've had that exact experience - where what I was making didn't meet the expectations that I had for it. Over the years of doing it again and again, I've gotten to the point where I can make things that meet or exceed my expectations. Well, most of the time.

On the flip side, I've also given up. I've also had the experience of wanting to be an expert at something but giving up immediately upon realizing that I truly suck at it. I don't know how many times I've borrowed my mom's sewing machine because I wanted to learn to sew. But when my first project would turn out hideous, I would give the sewing machine back. I never gave myself the opportunity to make bad things for a while until I figured it out.

I realize that it was something that I wasn't committed to. Learning to sew wasn't important enough to me, so I quit.

The late Randy Pausch said many inspirational things in his "Last Lecture," but one that applies here is: "Brick walls are there for a reason. They give us a chance to show how badly we want something."

So you have to figure out what you're committed to for the long run and be willing to make ugly things, make mistakes, break down that brick wall, and gradually get to that point where what you create is exactly what you had envisioned.

Deanna's Excellent Artistic Summer Adventure

I've been busy getting ready for my summer adventure. I'll be gone for almost a month! In a couple of days, I'm headed to the east coast for the start of my adventure:

Part 1 -
The Second National Encaustic Painting Conference near Salem, Massachusetts. I went to the first one last year and had an amazing time. I'm looking forward to seeing some of the artists that I met last year and meeting new ones.

I'll be staying with Kate Miller and Gwen Plunkett, who I just met in February when they came to Dallas for the College Art Association conference. We hit it off and I'm glad that I'll be able to spend some more time with them.

I'll be staying on a couple extra days after the conference. Gwen and Kate have both signed up for post-conference workshops and I may try to get into one of those or I may just do some sight-seeing. Or I may try to recreate my "Planes, Trains, and Automobiles" adventure to Provincetown.

Part 2 -
New York City! Since I have a few days between the conference and the start of my residency, I thought it would be fun to spend some time in New York visiting museums and galleries. Alas, since my search for a Park Avenue penthouse to crash in for free turned up empty, I'll be staying at a cool-looking hostel. I've been to New York twice but was with people who weren't so into the art scene, so I'm excited to get to do anything I want and go anywhere I want! Joanne Mattera has already sent me a Chelsea gallery guide, and of course I'll be visiting museums, too. And looking for good pizza. Art and food. It's all about priorities.

Part 3 -
Artist's Residency at Soaring Gardens in Pennsylvania. I've already booked my ticket on the bus from NYC to Scranton. I'll rent a car in Scranton and then attempt to find Soaring Gardens, where I'll be staying and making art for 18 days.

So now I'm busy trying to figure out how to cram a month's worth of stuff in one small suitcase. I also want to have someone ship my art supplies to me, so I don't have to lug them around.

Thanks to everyone who has "invested" in my residency. I'm overwhelmed by your generosity and I'm really excited to share what I learn with everyone.


I got a new laptop (Betty, pictured above), so I'll try to blog about my adventure as I go along, depending on internet access, of course.

I have a link on the blog now if you're interested in signing up for my mailing list. When I get back, I plan to start sending out a regular (hopefully monthly) newsletter. So please sign up. But don't worry if you don't hear from me for a while - I'll be adventuring!

It's My Turn on the Blog Tour!

There's so much going on in my world lately, but I'm excited to be the last stop on the blog tour for Alyson Stanfield's I'd Rather Be in the Studio! The Artist's No-Excuse Guide to Self Promotion. If you don't have the book yet, why not? Read on to find out how you can win a free copy...

Today I'm hosting Alyson B. Stanfield, author of I'd Rather Be in the Studio! The Artist's No-Excuse Guide to Self-Promotion. Alyson is here as part of the blog tour to help promote the book and is also giving away a free copy. She's invited me to ask a question related to the book, so here goes . . .

What is the best piece of advice that you could give to an emerging artist?

That's easy. For most artists, it would be: Get your art out there! Be so in love with your art that you can't wait to get out of bed and share it with people.

Don't wait for opportunity to knock on your door. Make sure more and more people are seeing your work and that you're not hoarding it for the perfect occasion.

Yes, you should enter juried shows, but don't stick to the safe ones. Go beyond your usual circle and introduce your art to new audiences. Subscribe to Art Calendar or an online service like ArtDeadlines.com or ArtDeadlinesList.com so you can keep up with the call for entries.

I would also caution emerging artists not to write off non-traditional venues. Sure, a local restaurant might not be as prestigious as a gallery in a big city, but what good is your art doing you while you sit on it and wait for that gallery? You never know what might come of hanging your art in a restaurant or doctor's office or bank lobby.

This brings me to something else. Although it's important to get your work out there as much as you can, it's equally important to know what you're getting into. That means doing your homework, meeting face-to-face with individuals, and that you need something in writing for most venues. You don't need to hang your art at every restaurant. You need to hang your art at those venues that will treat it with respect and treat you as the professional you are. If you don't know what you're getting into--if you don't know the right questions to ask--you can't expect others to cover all of the bases.

Bottom line: Get your art out of the studio and into venues where more people can see it.


Interested in winning a free copy of I'd Rather Be in the Studio! The Artist's No-Excuse Guide to Self-Promotion? Visit this site, read the instructions, and enter. Your odds are good as she's giving away a free copy on most of the blog tour stops. You can increase your odds by visiting the other blog tour stops and entering on those sites as well.

Artist's Residencies - An Overview

I promised that I would write a little about artist's residencies and what they're all about.

There are many different kinds of artist's residencies, but basically a residency is a place where an artist can get away from "real life" and concentrate on his or her art for a specified period of time. The artist is usually given a studio space and living space in which to live and work, often sharing space with other artists of different disciplines.

Some common types of residencies:
Fees required -
For this type of residency, you will pay to work and stay at the facility. Often they will bring in a visiting artist (well known artist or writer) that the residents get to interact with. The Vermont Studio Center is an example of this type of residency. Some will offer scholarships that artists can apply for to help with travel or living expenses, but most artists who are there are paying to stay there.

The Atlantic Center for the Arts is another example.

No fees required -
This type of residency will let you stay and work for free, but you're responsible for your travel and meals. This is the type of residency that I'm doing. My friend Junanne clarified by saying that they're "giving me the gift of time" to do my work. I think that's a good way to put it. I'll be away in a beautiful setting with other artists and I won't have to worry about "everyday" types of things that keep me from doing art.

The Edward F. Albee Foundation is another example of this type of no-fee residency.

Stipend provided -
This is a "dream gig." An artist is given a free place to stay and work and is also given a stipend to help defray expenses for travel, etc.

Artpace in San Antonio is an example of this kind of residency.

Work required -
Some residencies will require you to give back in some way, either through teaching community or children's classes, being available to the public to talk about your work, create work for an exhibition at the end of the residency, or to donate a piece of work.

The national park service offers residencies of this type.

But many will not require you to do anything. You're completely on your own to create (or not create) anything you like.

Many universities and colleges will employ artist's in residence for 1 or 2 years. I've known several artists who took these types of positions directly out of graduate school. Some were offered full time positions as a result and some went on to teach full time at different schools.

"Alternative" residencies -
Most residencies will be offered by art centers, art foundations, etc. But every now and then you'll come across a residency opportunity that at first seems strange. One example I heard about recently is at the San Francisco Dump. This would be a dream gig for an artist who likes to use recycled materials.

The Exploratorium, also in San Francisco, offers an artist in residence program that would be great for an artist who is interested in science and working with kids.

Elsewhere Artist Collaborative offers residencies where artists create site-specific work in a former thrift store.

Within all those above categories, you'll find even more differences:
Settings and facilities -
You'll find residencies in cities, rural areas, and even international locations. The facilities will also differ from residency to residency. Some will provide meals, private rooms, etc. while others, especially the ones in the national parks, are more primitive.

Time frame -
You can spend as little as a week or two or up to 1 or 2 years at a residency.

Age and career point -
Some residencies are for artists in their early 20's or 30's, some for more "mature" artists, some for "emerging artists" in their first 10 years of their career.

Gender and ethnicity -
Some residencies focus on women and minorities.

Discipline -
Some residencies are only open to visual artists while others encourage artists of may disciplines to apply, including writers, composers, musicians, dancers, singers, etc. One I saw even encouraged chefs to apply. Sign me up for the month when the chef's there!

Things to consider when applying for a residency:
Cost -
Can you afford to be away? Can you afford the travel expenses, etc? Are you willing to donate time or artwork, if it is required?

Location and time of year -
Where do you want to go? What time of year do you want to be away? Some residencies offer only summer options, but others are year-round. Often winter is a better time to apply, as there are fewer applicants.

Personality and working style -
Do you enjoy interacting with other people? If not, you might try to find a more "solo" residency. If you enjoy working with children or with the public, then you might look for one that requires that you teach and lecture.

The Application Process:
Follow the rules!
All residencies are different, so my best advice is to follow their specific rules. Often if you don't include all of the information that they ask for, your application will be thrown out immediately. They won't call you and ask for you to resubmit - they get hundreds of applications and don't have time for that.

Reapply -
Most residencies have a panel of jurors that changes every year, so if you're rejected, check their guidelines to find out when you can apply again (some will only allow you to apply every 2 years).

Send your best work -
Many residencies are based solely on the work, so make sure that every image you send them is your best.

Application fee -
Some will require an application fee, usually around $25. Personally, I look for the ones that don't require fees. It's expensive enough to be an artist!

Resources:
Here are some resources and clearinghouses for information on artist's residencies:
Alliance of Artists Communities
Resartis
TransArtists
Wikipedia has a good explanation and a list of other resources

Additional funding:
Check with your local or state arts council to find out of they offer any residencies or offer grants for residencies.

If you apply, good luck! And I'll keep you updated on how my residency goes.

Artist's Residency

I'm very excited to announce that I've been offered a residency at the Ora Lerman Charitable Trust Artist's Residency at Soaring Gardens in Pennsylvania this summer!

I'll be there for eighteen days, June 16 - July 3, interacting with other artists and creating my own artwork. I intend to work on some paintings but I want to focus on creating artist's books.

It's the first residency I've been offered and I'm very excited about it.

The residency includes room and board, but I'm expected to pay for travel expenses, which can get expensive. So I'm asking for your help. If you'd like to help out, click here for an invitation to be a partner on my creative journey.

------------------------
Special thanks to Alyson Stanfield - I got the idea for this from her book, I'd Rather Be In the Studio.

I don't think I've written anything about artist's residencies, so I'll do that soon...

TexasWAX Opening Night

l to r: Kate Miller (with back to camera), Joanne Mattera, Cheryl McClure, Carolyn Fox-Hearne (with back to camera), Janet Reynolds

Our opening reception on Friday, February 22, was a great success! The people at CAMP really did it up nicely for us. They were extremely gracious and they put on a great spread. One really great touch was the video camera "hidden" in the main gallery space. It was streaming live video that was projected in another room (and someone said it was streaming on the internet, too, but I'm not sure about that).

We were extremely excited that several high-profile people from the "encaustic world" stopped by, including Joanne Mattera, author of The Art of Encaustic Painting; Richard Frumess of R&F Paints, and Kathryn Bevier of Enkaustikos Wax Art Supplies.

The show is up until March 16, so if you haven't seen it yet, please stop by and check it out!

Collaborating Artists Media Project
2631 Commerce St. Suite B, Dallas, TX 75226
Gallery hours M-F, 9 am - 5 pm

Here are some more photos from the opening:

Carolyn Fox-Hearne


Deanna Wood

Gwen Plunkett, Kate Miller, Franziska Bader

Diane reader Dorn

Trayc Claybrook

Diane reader Dorn and Carolyn Fox-Hearne

The Birth of TexasWAX

Back in the fall, I received an email from Gwen Plunkett, an artist from Houston who uses encaustic. She invited me to join her newly formed encaustic group in Houston. She said that they were considering becoming a chapter of IEA but weren't sure.

I was excited about the prospect of a Texas-based encaustic group. I had intended to start one but just hadn't gotten my act together enough to do it. Gwen's email finally got me going. We decided to create one Texas group with separate groups in the larger cities, starting with Dallas and Houston.

Gwen mentioned that she's going to be in Dallas for the annual CAA conference and perhaps we could get together. There are some encaustic-related things going on in conjunction with the event. We decided that we would try to find a place to have a group encaustic show in the vicinity of the conference.

So I emailed all of the artists who had taken my workshops over the years and invited them to help form our encaustic group.

We met this past Saturday at the home and studio of Janet Reynolds. There were nine of us: Deanna Wood, Pedrameh Manoochehri, Darlyne Hartman, Kathy Lovas, Susan Sponsler Carstarphen, Silvia Thornton, Janet Reynolds, Junanne Peck, and Trayc Claybrook.

There are several others who are part of the group but weren't able to make the meeting:
Vidya Kagal, Charlotte Cornett, Cheryl McClure, Robin Walker, and Fran Strebel.

We came up with the name - TexasWAX/Dallas - talked about the focus of the group, affiliations, etc. We're currently looking for exhibition space for a joint Dallas/Houston show during CAA.

I'm very excited about the group - it's a diverse, talented, supportive and encouraging group of artists.

You can keep up with our progress on our blogs:
TexasWAX/Dallas
TexasWAX/Houston

We're looking for artists who use encaustic in San Antonio, Austin, Corpus Christi, etc...

Mourning the ORG

During the year that Ze Frank was doing "The Show," his daily online video program, he created an online social network called the ORG. It was a place for his fans (with various nicknames like Sports Racers, Duckies, The Flock, or members of the League of Awesomeness) to congregate, celebrate their love for Ze, contemplate why he never blinked, show off their creative work, and collaborate with each other.

I had been contemplating writing a post for this blog about online social networks for artists and I was going to mention the ORG. I don't see the point for most of the networks - I join them (myartspace.com, 723.com, artscuttlebutt.com, indiepublic.com, etc), post some images of my artwork, look around at other members for a while, log off, and forget about it until someone posts a comment or friend request.

But the ORG was different. It wasn't an art social network per se, but a lot of the members were very creative in some way - artists, musicians, poets, writers, photographers, filmmakers, designers, illustrators, etc. And others were scientists, engineers, students, and self-described geeks and nerds. The thing that brought everyone together was a desire to connect with other like-minded people and create something new.

ORG members could post photos, videos, writing, and links to their blogs. Members were encouraged to leave short, positive comments. You could also send messages to members via the ORG's message system. Oh, and I don't think I mentioned what I liked most about it - it looked really good. The complete opposite of MySpace, which is so full of ugly (on many levels) that I can't even begin to describe my loathing...

And it all seemed to develop and grow organically. It started very basic but as people commented on the features and functionality, new things were suggested, added and tweaked all the time. It was fun to watch it grow.

One of the collaborative aspects of the ORG were the projects. Any member could create a project and invite other members to join in. Some were based on things Ze mentioned in his show and others just came out of nowhere and got a life of their own. Often someone would post a photo or video, other people would connect with it, play off of it, post something else, and something new and wonderful would be born.

I have to admit that I wasn't as active an ORG member as some. I don't know how to do video (and quite frankly don't want to see myself on video!). I mostly posted some photos, perused the photos that people posted and commented on them. I would "quack" at people (I guess it was the ORG's version of a nudge, wink, or friend request). I would read some of the blogs and occasionally watch a video. There was one young guy from New York that posted some beautiful poetry... Oh, and I really enjoyed the Secret Santa project this Christmas...

OK, so why am I in mourning? Because when I tried to log in to the ORG on New Year's Day, I saw this:
... and it never went away. And I was sad.

It had became a real community. I felt like I had some friends there. I was a fan of many members and looked forward to their contributions - dangeramy, oldgrimy, viscousplatypus (still the best username ever), astropixie, imagine, blissee, awed job, snooge, ohkatherine (incredible photographer)... So many! A bunch of the ORG members are planning a get-together in Chicago this March at QuackerCon 2008...

Luckily I had some ORG member emails and some ORG contacts on Twitter and Flickr, so we were able to stay in contact while we figured out what happened (in fact, I've been enjoying our Twittering these last few days...)

Some of the more industrious (and smart) ORG members are scrambling to create a new place to meet. Right now it's called PostORG. ORG members are coming together and offering their talents to help create something new.

There was discussion on the forum about trying to get the code for the ORG to bring it back up and have someone else maintain it. But I love the idea of us creating something new. And of course by "us" I mean all those smart people who know how to do that sort of thing...

So if you were a member of the ORG and want to reconnect with it, go to PostORG or send an email to explodedorg@gmail.com.

Or if you want to be part of something new and awesome, watch The Show first, and if you like what you see, then hop on board.

And if you do join, look me up. I'm enchiladaplate, of course.

Book: Creative Careers by Elaina Loveland

I got this book from the library and thought it might be helpful for someone who was thinking about a career in art.

The subtitle is: Paths for Aspiring Actors, Artists, Dancers, Musicians and Writers.

There's a very short introduction about the book and then each section has an introduction with an overview of careers for each category (actor, artist, dancer, musician, and writer). Each section has profiles of different careers within that broad range.

I have to admit that I was only interested in the section on artists, so I'll concentrate on that here.

There are several career options for artists - animator, digital filmmaker, video game animator, architect, landscape architect, art gallery director, art therapist, artist, illustrator, photographer, art teacher, art professor, art director, industrial designer, floral designer, graphic designer, interior designer, web designer, fashion designer, fashion editor/stylist, jewelry designer, conservator, museum curator, preparator, and museum educator.

There is a basic overview for each one, including a job description, training and educational qualifications, job outlook, salary, and industry resources.

Each career also includes a Q&A profile with someone doing that job, with questions about internships, the best cities for that job, favorite and least favorite aspects of the job, professional associations, helpful publications and websites, and advice for people who are interested in pursuing that particular career.

The artist profiled is Tiffani Taylor, a self-employed artist who paints murals, paintings and pottery and lives in Savannah, Georgia.

A couple of great quotes from Tiffani:
I believe fear is a major factor that stops most art careers--the fear of putting oneself out in the world for others to see. Additionally, artists are faced with the problem solving of being self-employed.
and
Don't let fear of the unknown stop you. Take it a day at a time and live the life you have imagined. work each day toward "self-actualizing;" become the best person you know you can be. Don't listen to "dream squashers." Surround yourself with positive people who inspire you and believe in you. Ask for advice from people you admire.
There's not much here for creative professionals who are already doing what they love, but this would be a great book for someone interested in changing careers or for a young person just starting out.

The author's website:
Creative Careers: Paths for Aspiring Actors, Artists, Dancers, Musicians and Writers by Alaina Loveland

Abundance

First of all, before I forget, congratulations to Kaija, Mary, and Ben on the Pay It Forward project! I'll get something fun out to you soon.

I've been thinking a lot lately about scarcity and abundance. And I guess generosity and stinginess also come into play.

Like most things, I think it's all in how you look at it. I have enough. I have a cute house, a nice studio, a great family, wonderful friends, good health, and basically a great, stress-free life. I have more than I need. Until I start comparing myself to someone with a bigger house, nicer car, more income, handsome husband, skinnier body, etc.

In "Creating Affluence," Deepak Chopra says,
"We experience health when our identity of who we are comes from reference to the self. When we identify with objects, whether these are situations, circumstances, people, or things, then we relinquish our energy to the object of reference. As a result, we feel lack of energy and vitality. When our identity comes from the self, then we keep our energy to ourselves."
He's talking specifically here about health, but I think it applies to anything. When you compare yourself to others, you will come up short in some way. That's not to say that you shouldn't strive for more. I believe that we should all grow and change.

It's kind of like that bumper sticker, "Begin Within." Or the Gandhi quote, “we must be the change we wish to see in the world.”

So, maybe it's naive, but I try to apply this to the art world as well. Everyone agrees that it's a very competitive business. But if you approach it with an attitude of abundance rather than scarcity, it all changes. Instead of self-absorbed artists just in it for ourselves, we can all help each other. I think deep down we all want to be helpful in some way.

I've always thought that it's sort of a numbers game - you have to send out 50 proposals to get 2 shows; you have to approach 100 galleries to get representation in 4 of them; you have to have work in several shows before you build up a following, etc. There are exceptions to this rule, of course, but I think for most of us it's true. You have to get your work out there and eventually the right people will see it.

There's more to it, of course - you need have good work, be able to talk confidently about it, conduct yourself professionally, etc.

I have to remind myself of this concept of abundance often, though. I think there's a tendency to be self-protective and think, "It's competitive out there. I found this call for entries and I want to keep it for myself. If I let Artist X know about it, he might get in the show instead of me." But if you come at it from abundance, then there's enough for everybody. And if you help your fellow artists and cheer for their successes, they will help you and cheer for you in return.

I ask myself often if what I'm doing is coming out of generosity or stinginess. I have to remind myself what I want to be: Generous.

Gratitude is another concept that's important. Remember to thank those who help you along the way.

So thank you all for reading and for the great comments and encouragement. I'm inspired by all of the talent and generosity of spirit in the artist-blogger community.

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Now playing: The Decemberists - Think About Me
via FoxyTunes

Etsy Shop


Etsy
Buy Handmade
deannawood

I added a bunch of stuff to my Etsy shop. Please check it out. If you're not familiar with Etsy, it's a wonderful collection of cool handmade things for sale. Mostly craft and designerish stuff - jewelry, purses, baby items, blank journals, greeting cards, prints, etc. But there's some good fine art there, too.

I had created my Etsy shop over a year ago and posted a few paintings but I was advised against it. Since I'm going the commercial gallery route (as opposed to alternative venues, selling only online, etc), it's seen as being in competition with my gallery. I completely agree with that. BUT, I've got all these small paintings that galleries don't want. And I need to make some money!

So I decided to create some small, fun things that are much different than my work that the galleries feature and will be more affordable.


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Now playing: the pillows - MARCH OF THE GOD
via FoxyTunes

Thanks and welcome!

Thanks to Alyson Stanfield at the wonderful artbizblog for mentioning this blog twice recently!

And Joanne Mattera mentioned my work at Ernden Gallery in Provincetown, Massachusetts recently. Thanks, Joanne. I'm proud to be included in your "Wax Walk!"

Welcome to those of you who found your way here through Alyson or Joanne.

If you're here for the first time, check out the list on the right of "Helpful Posts." You'll find information on writing an artist's statement, putting together a proposal, designing a postcard, and many other things that artists often struggle with when starting out.

Please leave a comment. I love hearing from artists and the comments are often how I find new, interesting blogs to read.

Thanks for stopping by!

How Galleries Choose Artists to Show

Panel Discussion sponsored by the Greater Denton Arts Council. June 14, 2007

Panelists:
Nancy Whitenack from Conduit Gallery, Dallas, Texas
Marty Walker from Marty Walker Gallery, Dallas, Texas
Burt Finger from Photographs Do Not Bend, Dallas, Texas

The GDAC hosted an exhibition of emerging artists that are represented by galleries in Dallas (Denton is about 35 miles north of Dallas). They also hosted this panel and invited arts groups and art students from the area universities. I took notes and wanted to share them with you.

Nancy Whitenack:
Her gallery features two major spaces and a small "project room" where they show artists that they don't represent.
She sees the gallery/artist relationship as a journey.
She watches the artist change and brings the public around to the changes.
She picks artists instinctually.
She does studio visits and views juried shows.
She responds to work that she immediately resonates with and connects with - she has to love the work.
She tries not to overlap other types of work - not have two or more artists that do the same thing.
She likes work that examines a story in a different way.

Marty Walker:
Suggests that you take time to visit the gallery or website to see what the work looks like before you approach a gallery.
She sees several variables - she must like the work - the resume and exhibition history is important but not the final decision. She's willing to take a chance on an artist.

Burt Finger:
He looks for an artist that will add something to the gallery.
He thinks about his clients, not just what he loves.
Suggests that you do research on a gallery before you approach it.
He prefers artists who have work in major museums and who have a monograph.

Q&A:
What is the role of an alternative space?
Alternative spaces are important - Some recent grads are not necessarily ready for a commercial gallery. They're great for creating a community of artists and are important for experimental work (there were several artists present who are on the board of the 500X, a prominent alternative space in Dallas). But all of the gallery directors said that if they believe in an artist, they would be willing to show experimental work.

How should an artist approach a gallery?
If you're local, go to the openings and meet the gallery director.
Build up a relationship first.
Make a personal connection.
If you have work in a local show, ask them to visit to see your work.
Participate in major local juried shows (in this area it's the Contemporary, the MAC, Art House, Art in the Metroplex, TVAA, etc.)
Show work in non-art spaces to begin with - coffee shops, etc.

What makes you want to visit an artist's studio?
The artist has to be serious.
It helps to have built up a relationship.

What about exclusive contracts?
Marty Walker and Nancy Whitenack said that their contracts are usually just locally exclusive (if you show with them you don't show at another competing gallery in Dallas).
Burt Finger said that he prefers his artists to be exclusive to his gallery.

Other thoughts:
Most galleries will send out packets with info on their artists to museums and collections.
They all said that they didn't have any bias against self-taught artists.
If energy is happening in your studio then everything else will fall into place.
Don't expect to produce part-time effort and expect full time results.
Artist's recommendations are very important. They place a great deal of importance on recommendations from other artists.

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Now playing: Red House Painters - Another Song For A Blue Guitar
via FoxyTunes

In Overwhelm

I'm used to having a lot to do. In fact, I like to be busy and to know that I have a lot of things going at once. But every now and then I feel overwhelmed by it all. Sometimes I think about everything that I need to do and I feel paralyzed by indecision. I'm not sure what I should do first.

One of the things I've been paralyzed about is this blog. I have so many things that I want to write about that I don't know which one to start with, so I don't write anything. I KNOW what I need to do - just do something - yet I find something else to do instead. I'm really good at avoidance techniques. As a result, my office is REALLY clean right now!

So this is my attempt at getting back on track.

First of all, I want to thank Joanne Mattera for plugging this blog on her blog. Joanne is a wonderful artist who is widely known in the encaustic painting world for her book, The Art of Encaustic Painting. But her blog contains a lot of excellent information - reviews of shows, information about art fairs, and thoughts about being an artist.

The next post will be the final post about the Encaustic Painting Conference that I should have posted a few weeks ago... Hey, I've been cleaning.

I wanted to mention an online art community that I just joined: 723.com. I met someone at an opening that uses it. I don't know much about it yet, but it kind of looks like MySpace for artists. The art seems a little uneven but I guess that's to be expected. If you stop by, I'm enchiladaplate, as usual.

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Now playing: Blondie - X Offender
via FoxyTunes
 
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