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!
Showing posts with label resources. Show all posts
Showing posts with label resources. Show all posts
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.
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.
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 . . .
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.
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.
Different Media
I wrote recently about trying to figure out how to handle marketing different bodies of work. But now I'm facing a different problem: working in different media.
I used to paint only in acrylic, and I played around with layering colors and trying to achieve transparency. But when I discovered encaustic, it seemed to solve all my problems. I could embed objects, collage materials, write words, scrape, scratch, layer... So I've worked almost exclusively in that medium for almost four years.
But when I started on this new body of work (the Palimpsest series), I wanted to explore the ideas in different media, as I had done with the Seeking Shelter series. That particular series came out of all of the work that I did in grad school. I spent the whole time working through ideas and media, and Seeking Shelter is the culmination of all of that work, and it just happens to be created in encaustic.
I know Joanne Mattera has written about not wanting to be labeled an "encaustic artist," and I can understand and respect that. About not being defined by your medium. And it's never bothered me if someone called me an encaustic artist. [I don't care what you call me, just call me, right?]
But I'm afraid now that I've pigeon-holed myself. I've created a few new pieces in the Palimpsest series that are not encaustic. I've been experimenting with acrylic, oil, and pastel. I think all of the pieces go together as one body of work and I don't think acrylic pieces would look out of place next to encaustic pieces as long as they seem cohesive in style, subject matter, etc. But when I was talking with a gallery owner about sending work to him, he seemed hesitant about me sending the non-encaustic pieces. He said I have become "known for" encaustic.
I'm going to send them anyway and see what happens.
So I'm curious. How do you handle working in different media? Or introducing work created in a new medium? Have you had the experience of being labeled as a particular kind of artist or expected to only work in a certain medium?
I used to paint only in acrylic, and I played around with layering colors and trying to achieve transparency. But when I discovered encaustic, it seemed to solve all my problems. I could embed objects, collage materials, write words, scrape, scratch, layer... So I've worked almost exclusively in that medium for almost four years.
But when I started on this new body of work (the Palimpsest series), I wanted to explore the ideas in different media, as I had done with the Seeking Shelter series. That particular series came out of all of the work that I did in grad school. I spent the whole time working through ideas and media, and Seeking Shelter is the culmination of all of that work, and it just happens to be created in encaustic.
I know Joanne Mattera has written about not wanting to be labeled an "encaustic artist," and I can understand and respect that. About not being defined by your medium. And it's never bothered me if someone called me an encaustic artist. [I don't care what you call me, just call me, right?]
But I'm afraid now that I've pigeon-holed myself. I've created a few new pieces in the Palimpsest series that are not encaustic. I've been experimenting with acrylic, oil, and pastel. I think all of the pieces go together as one body of work and I don't think acrylic pieces would look out of place next to encaustic pieces as long as they seem cohesive in style, subject matter, etc. But when I was talking with a gallery owner about sending work to him, he seemed hesitant about me sending the non-encaustic pieces. He said I have become "known for" encaustic.
I'm going to send them anyway and see what happens.
So I'm curious. How do you handle working in different media? Or introducing work created in a new medium? Have you had the experience of being labeled as a particular kind of artist or expected to only work in a certain medium?
I Don't Really Want to Be an Expert on This...
I was recently interviewed for American Artist Magazine for an article about rejection.
The article will appear in the June issue.
You can read it now online:
Putting a Positive Spin on Rejection
The article will appear in the June issue.
You can read it now online:
Putting a Positive Spin on Rejection
Book Party!
Alyson Stanfield speaking to artists at my studioThis past Sunday, I was excited to host Alyson Stanfield, creator of ArtBizCoach.com at my studio for a book party. She's visiting artist's studios to talk about her new book, I'd Rather Be in the Studio.
There were about 13 artists there to meet Alyson, buy her book, and ask her questions about art marketing. Everybody wanted to hear everyone else's questions, so it ended up being a group question and answer type format.
Alyson was very genuine, funny, and generous with her information. I really enjoyed meeting her.
Her book is wonderful - full of helpful information to get you started or to help you focus on what you're already doing. And I was overwhelmed with the amount of online resources that she shares with the buyers of the book. It's such a great supplement to the book. You definitely need to read it!
And, just a reminder - as part of her blog tour, Alyson is stopping by my blog on May 27. Stop back by then for more with Alyson!
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:
The author's website:
Creative Careers: Paths for Aspiring Actors, Artists, Dancers, Musicians and Writers by Alaina Loveland
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
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.
----------------
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!
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!
Productive!
I had a very productive day today. I worked on putting proposals together for the Waxy Buildup exhibit.
I made a few minor changes after I shot these images, but it's basically how it looks. I included our resumes, a CD, an image list that corresponds to the images on the CD, and a statement. This image shows a postcard, but I ended up not printing them because the prints off my computer scratch too easily. I want to get some professionally printed postcards to include in future proposals.
Each packet also includes a cover letter and a SASE.There's one packet that I had to customize because the venue had really specific proposal guidelines. You have to do that sometimes, so it helps to be flexible.
I'm sending out 8 proposals tomorrow. Wish us luck!
I also entered my work in a couple of juried shows and put together a packet of my work to send to a curator.
I like days like this.
I've got some new stuff going on in my studio but I'll talk about that later. I'm still trying to figure out what's going on with it.
----------------
Now playing: Building On Fire' - open on FoxyTunes Planet">Talking Heads - Love -> Building On Fire
via FoxyTunes
First National Encaustic Conference, Part 3
OK, enough silliness - back to the conference report...
On Saturday, the first full day of the conference, I attended the morning panel discussion. The panel was moderated by Joanne Mattera and included Timothy McDowell (artist), Katherine French (curator), Richard Frumess (artist and founder of R&F Paints), Hope Turner (gallery owner), and Barbara O'Brien (curator and critic).
I found the discussion interesting and lively. I took some notes on the highlights:
On the fragility of encaustics - no one seemed to be concerned - just suggested that you have to be a little more careful. Tim McDowell related a story he'd heard about Anselm Kiefer - Kiefer's gallery person called him to let him know that the new owner of one of his straw paintings was staring at a pile of straw in their living room. Kiefer replied, "It must be beautiful."
Someone else mentioned that throughout history, wax has been used as protection and a preservative.
Encaustic lends itself to expressionism. Color can be entrapped in and bounce out of the layers of wax in the painting.
On encaustic painting as a ghetto or cult - most panelists agreed that the idea or formal image is the most important aspect of a work of art, not the medium chosen by the artist. The medium can be interesting but it is secondary (this idea was repeated several times).
Barbara O'Brien stated that art doesn't speak for itself, an artist has to educate the viewer.
Miles Conrad asked the panel if encaustic is seen as a medium used mostly by women. He has noticed an overwhelming majority of women artists entering his encaustic invitational every year. Someone on the panel suggested that perhaps women are more open to trying new media or are more willing to learn from other people (I have noticed, too - I've been teaching workshops for a year and a half and haven't had one male student...).
But historically, male artists had passed down the knowledge of the encaustic process - Brice Marden learned from David Aronson, who learned from Karl Zerbe...
On shipping encaustic work - Someone said that they use 1st or 2nd day FedEx and only ship on Monday, Tuesday, or Wednesday to arrive on Friday. This eliminates the danger of the artwork sitting in a hot truck or warehouse over a weekend. Never use the US Post Office. Never put anything in contact with the surface. Use a crate within a crate. Someone suggested using Ethafoam. Tim McDowell says he usually ships overnight. He also suggested never to list the contents as "artwork." They won't pay the full insurance value on artwork. In the description line he writes, "hand-painted signs." They'll insure those...
On getting into galleries - Look at galleries in your area. Look at the gallery's stable and get a dialog going with the gallery director/owner. Produce a web page that focuses on your art. Keep it businesslike and easy to migrate through. Go to openings and network. Just because a gallery says no once, it's not final. Send them information later with new work and they'll often look at your work again. Don't give up. Gallery owners put a lot more weight to recommendations from their current artists.
Debra Ramsay
After the panel, Tricia Lazuka, Heather Harris and I walked over to see Hot Stuff, the juried group show of encaustic work. I took photos of most of the work and you can see it here. I'm working on finding the names for each work, so if you know who did any of them, please leave a comment.
To be continued...
Related links:
My Flickr set of the Hot Stuff show
Joanne Mattera's in-depth synopsis
Linda Womack's on-going report
Daniella Woolf's blog
International Encaustic Artists
On Saturday, the first full day of the conference, I attended the morning panel discussion. The panel was moderated by Joanne Mattera and included Timothy McDowell (artist), Katherine French (curator), Richard Frumess (artist and founder of R&F Paints), Hope Turner (gallery owner), and Barbara O'Brien (curator and critic).I found the discussion interesting and lively. I took some notes on the highlights:
On the fragility of encaustics - no one seemed to be concerned - just suggested that you have to be a little more careful. Tim McDowell related a story he'd heard about Anselm Kiefer - Kiefer's gallery person called him to let him know that the new owner of one of his straw paintings was staring at a pile of straw in their living room. Kiefer replied, "It must be beautiful."
Someone else mentioned that throughout history, wax has been used as protection and a preservative.
Encaustic lends itself to expressionism. Color can be entrapped in and bounce out of the layers of wax in the painting.
On encaustic painting as a ghetto or cult - most panelists agreed that the idea or formal image is the most important aspect of a work of art, not the medium chosen by the artist. The medium can be interesting but it is secondary (this idea was repeated several times).
Barbara O'Brien stated that art doesn't speak for itself, an artist has to educate the viewer.
Miles Conrad asked the panel if encaustic is seen as a medium used mostly by women. He has noticed an overwhelming majority of women artists entering his encaustic invitational every year. Someone on the panel suggested that perhaps women are more open to trying new media or are more willing to learn from other people (I have noticed, too - I've been teaching workshops for a year and a half and haven't had one male student...).
But historically, male artists had passed down the knowledge of the encaustic process - Brice Marden learned from David Aronson, who learned from Karl Zerbe...
On shipping encaustic work - Someone said that they use 1st or 2nd day FedEx and only ship on Monday, Tuesday, or Wednesday to arrive on Friday. This eliminates the danger of the artwork sitting in a hot truck or warehouse over a weekend. Never use the US Post Office. Never put anything in contact with the surface. Use a crate within a crate. Someone suggested using Ethafoam. Tim McDowell says he usually ships overnight. He also suggested never to list the contents as "artwork." They won't pay the full insurance value on artwork. In the description line he writes, "hand-painted signs." They'll insure those...
On getting into galleries - Look at galleries in your area. Look at the gallery's stable and get a dialog going with the gallery director/owner. Produce a web page that focuses on your art. Keep it businesslike and easy to migrate through. Go to openings and network. Just because a gallery says no once, it's not final. Send them information later with new work and they'll often look at your work again. Don't give up. Gallery owners put a lot more weight to recommendations from their current artists.
Debra RamsayAfter the panel, Tricia Lazuka, Heather Harris and I walked over to see Hot Stuff, the juried group show of encaustic work. I took photos of most of the work and you can see it here. I'm working on finding the names for each work, so if you know who did any of them, please leave a comment.
To be continued...
Related links:
My Flickr set of the Hot Stuff show
Joanne Mattera's in-depth synopsis
Linda Womack's on-going report
Daniella Woolf's blog
International Encaustic Artists
First National Encaustic Conference, Part 2
on the Salem FerryJoanne Mattera and Nancy Natale gave me some helpful travel tips and I was able to figure out a way to do it. I had rented a car since I flew into Manchester, NH, but in order to drive to Provincetown, I would have to go through Boston. Now, I had been to a conference in Boston a few years ago and had made the mistake of renting a car, so I knew that driving in Boston is a dicey proposition...
Ernden Fine Art Gallery, Provincetown, MA
Ernden Fine Art Gallery, Provincetown, MA - my work is on the right
Another reason for the trip to Provincetown was to meet up with Mary Richmond, a blogger that I have corresponded with occasionally for a few months. She's a ceramic artist and painter and also a writer and naturalist. We had lunch and she drove me to the beach - it had been too long since I'd had my toes in the sand, and it was great to get a tour from someone who is so knowledgeable about the area.
Mary (l) and me (r)I'm always so jealous when I visit a city with public transportation!
Anyway, I arrived at the conference at the beginning of Joanne Mattera's keynote presentation, so it worked out perfectly.
Joanne talked about the history of encaustic and some of the early pioneers of the encaustic process in the 20th century, expanding on the information in her book.
Here are a few of the notes that I scrawled:
The Fayum portraits -
The painters might have used bicarbonate of soda to mix their wax.
They were painted during a 300 year period.
Metal and gemstones were applied to the wax.
The gold leaf was most likely applied after the person's death to symbolize the passage to the next world.
There was a get together of the International Encaustic Artists after the keynote at one of the area hotels, but I was beat from my "Planes, Trains, and Automobiles" type of day, so I decided to skip it.
I ended up going back to my hotel and grabbing a bite to eat in the hotel bar/restaurant. There was a "loud talker" in the group sitting next to me so I couldn't help overhearing their conversation. I thought at first that they were professors or something because they were talking about historic places to visit in England and then some kind of organization that they were in. After a while, though, I realized that they were witches!
Only in Salem...
Oh, I forgot to mention - the next day Dennis sent me an email saying that he had sold one of my paintings!
Release - 12" x 12" - collage, oil, and encaustic - SOLD!To be continued...
First National Encaustic Conference, Part 1
I'm still trying to digest everything that I learned at the conference. I thought I'd break it down into several posts to make it more manageable.
I arrived in Salem late on Wednesday night. My ex-husband works for Southwest Airlines and he was very generous to give me a free pass, which meant I had to fly standby (exciting in a nerve-racking sort of way). I had been invited to a reception at Joanne Mattera's house on Thursday evening, so I definitely wanted to be there in time for that.
Joanne was so gracious and warm. It was such a delight to meet her and see her beautiful home and studio. I was too shy to take pictures in her house but I got up the nerve to ask her if I could take some shots of her studio.
I got to meet and talk with several artists there -
Sandi Miot from California, who has produced a beautiful show catalog of her work (she used viovio.com and recommended them highly). She does really dimensional work. I asked her a bunch of technical questions about her process, too.
Heather Harris from near Seattle, who made me very jealous because she's moving to Italy soon.
Daniella Woolf from California, who I didn't really get a chance to talk to but her work is really amazing. She pointed out that we have the same initials.
Kim Bernard from Maine, who does lush paintings and beautiful sculpture.
Nancy Natale from Massachusetts, who does beautiful abstract paintings. She also really helped me out with advice on getting to and around in Boston.
Paula Roland from Santa Fe, who teaches encaustic monotype workshops. I've had a couple of students that have taken her workshop and I was excited to meet her. I attended her demo and I'll talk more about that later.
Tricia Lazuka from Ohio, who does encaustic painting and monotypes and also works in ceramics. She and her husband had driven there from Ohio.
I met several other people there but don't remember their last names... I'm hoping they put out a directory of the attendees that will help jog my memory...
Here are shots of Joanne's studio:
I'm blogging about all my tourist-y sight-seeing activities on my personal blog, in case you're interested...
To be continued...
I arrived in Salem late on Wednesday night. My ex-husband works for Southwest Airlines and he was very generous to give me a free pass, which meant I had to fly standby (exciting in a nerve-racking sort of way). I had been invited to a reception at Joanne Mattera's house on Thursday evening, so I definitely wanted to be there in time for that.
Joanne was so gracious and warm. It was such a delight to meet her and see her beautiful home and studio. I was too shy to take pictures in her house but I got up the nerve to ask her if I could take some shots of her studio.
I got to meet and talk with several artists there -
Sandi Miot from California, who has produced a beautiful show catalog of her work (she used viovio.com and recommended them highly). She does really dimensional work. I asked her a bunch of technical questions about her process, too.
Heather Harris from near Seattle, who made me very jealous because she's moving to Italy soon.
Daniella Woolf from California, who I didn't really get a chance to talk to but her work is really amazing. She pointed out that we have the same initials.
Kim Bernard from Maine, who does lush paintings and beautiful sculpture.
Nancy Natale from Massachusetts, who does beautiful abstract paintings. She also really helped me out with advice on getting to and around in Boston.
Paula Roland from Santa Fe, who teaches encaustic monotype workshops. I've had a couple of students that have taken her workshop and I was excited to meet her. I attended her demo and I'll talk more about that later.
Tricia Lazuka from Ohio, who does encaustic painting and monotypes and also works in ceramics. She and her husband had driven there from Ohio.
I met several other people there but don't remember their last names... I'm hoping they put out a directory of the attendees that will help jog my memory...
Here are shots of Joanne's studio:
I'm blogging about all my tourist-y sight-seeing activities on my personal blog, in case you're interested...To be continued...
Rejection Letters
I use statcounter.com to track the traffic on my website and blogs. I'm a bit OCD about it - I check it several times a day. I'm mostly interested in where people come from - how they get to me. Often people will do Google searches for some combination of "artist's or gallery rejection letters."
I wonder who is searching and what exactly they're looking for? Is it artists trying to find solace and kinship with other rejected artists? Or is it someone at a gallery trying to find a template for a form rejection letter to deal with the towering pile of artist's submissions on their desks?
So I looked through my pile of rejection letters and thought I'd share the best and worst. So if anyone happens to come here looking for the perfect rejection letter to send to an artist, maybe I can persuade him or her to make that rejection a bit less painful...
The best rejection letters (that sounds like an oxymoron, no?) are handwritten notes that include something personal. These are rare, but very much appreciated. I'm happy to get any kind of response, even a form letter, but I'm especially grateful for a gallery owner or director who takes the time to write a personal note. I know that they took the time to read my letter, look at my brochure, and perhaps check out my website, and that they carefully considered whether or not my work would be right for their gallery.
One of the best ones:
Deanna,
Thanks for sending images of your work. Very interesting and as you said, "shares an affinity" with work we represent.
We are a very small gallery, already overloaded with artists, so, I'm afraid we cannot at this time add to our dilemma.
I will, however, share what you have sent with other galleries - there's always a chance to exhibit somewhere in the area. It's just a matter of timing and some luck.
Best wishes...
This one was especially kind in that he said he would show my information to other galleries.
Not hand-written, but another good one:
Dear Deanna,
Thank you for sending us recent images of your work. Your work is beautiful and we enjoyed looking at images of your mixed media canvases. We appreciate your enthusiasm and interest in our gallery, unfortunately we are not in a position to add new artists.
We encourage you to send your work to other galleries in the area. You may want to visit the Chamber of Commerce website to aid your pursuit of a local gallery.
Good luck with your work!
I will occasionally receive email rejection letters - also a good opportunity for the gallery owner or director to add a personal touch.
Here's one that I liked:
Dear Deanna,
Thank you so very much for your interest in our gallery. Your submission was wonderfully designed. Elusive is probably my favorite of the series you sent. The colors and composition are great. Unfortunately your work does not meet our needs at this time. I want to thank you for thinking of us, and I do wish you the very best of luck.
Best regards...
Another good email:
Dear Deanna,
Thank you for sending information about your artwork to the gallery. I took the opportunity to visit your website (nice, by the way) and I can see why you felt there is a commonality in your and our aesthetic. Unfortunately, we aren't currently looking to take on new artists at this time. I would like to keep your brochure on file for possibilities in the future.
Thank you again, and good luck in your artistic endeavors.
These personal letters usually include a note about something that they liked about the work (which is nice to hear). Sometimes they will say that they think the imagery is not right for the gallery but not go into any detail as to what that might mean. I understand that gallery people look at a lot of submissions and can't possibly critique everything that crosses their desk, but it would be helpful to know why my "imagery is not right for the gallery." Maybe that's just a way to say they don't like it.
I think I've only received one letter that offered constructive criticism:
We enjoyed viewing your work and though it is visually intriguing, we suggest you compose larger pieces.
And there was another one that said:
Our client base really responds to more representational artwork.
I also like the letters that say something like:
Please do resubmit in the future as the work progresses or changes. We would love another opportunity to take a look.
or
I hope you will keep us updated on developments in your work.
I know that they are open to looking at my work again in the future. Maybe they see potential in my work or maybe they want someone with more shows or that is more established. Who knows?
Here's what sounds like a standard form rejection letter (in case that's what you're looking for):
Thank you for bringing your work to our attention. Unfortunately we are not in the position to take on any new artists at this time, as we are committed to the artists represented by the gallery and to our current exhibition schedule.
Thank you for your interest in X Gallery. We wish you the best of luck in finding representation.
When I started sending out my brochure to galleries, I would occasionally receive a letter or email back, but most of the time I wouldn't hear anything at all. So I started sending a SASE. That helped - often I would receive a letter but mostly I would get a note sent back on my cover letter. Most of them were nice but one gallery simply wrote, "This is not for us," on the cover letter and sent it back. A couple just shoved everthing in the SASE and sent it back without any note or acknowledgement at all. I understand that people are busy, but come on. That's just rude.
When I got those, I had intended to post something about the galleries in question and warn other artists to avoid them because they were rude and insensitive to artists. But I got over it. Everybody's entitled to a bad day... My good experiences have far outnumbered my bad, so I have faith that the art world is not such a horrible place.
Have you gotten any particularly great or horribly awful rejection letters?
To commiserate with other artists about rejection, check out:
Rejection Letters of an Emerging Artist
Rejection Collection
I wonder who is searching and what exactly they're looking for? Is it artists trying to find solace and kinship with other rejected artists? Or is it someone at a gallery trying to find a template for a form rejection letter to deal with the towering pile of artist's submissions on their desks?
So I looked through my pile of rejection letters and thought I'd share the best and worst. So if anyone happens to come here looking for the perfect rejection letter to send to an artist, maybe I can persuade him or her to make that rejection a bit less painful...
The best rejection letters (that sounds like an oxymoron, no?) are handwritten notes that include something personal. These are rare, but very much appreciated. I'm happy to get any kind of response, even a form letter, but I'm especially grateful for a gallery owner or director who takes the time to write a personal note. I know that they took the time to read my letter, look at my brochure, and perhaps check out my website, and that they carefully considered whether or not my work would be right for their gallery.
One of the best ones:
Deanna,
Thanks for sending images of your work. Very interesting and as you said, "shares an affinity" with work we represent.
We are a very small gallery, already overloaded with artists, so, I'm afraid we cannot at this time add to our dilemma.
I will, however, share what you have sent with other galleries - there's always a chance to exhibit somewhere in the area. It's just a matter of timing and some luck.
Best wishes...
This one was especially kind in that he said he would show my information to other galleries.
Not hand-written, but another good one:
Dear Deanna,
Thank you for sending us recent images of your work. Your work is beautiful and we enjoyed looking at images of your mixed media canvases. We appreciate your enthusiasm and interest in our gallery, unfortunately we are not in a position to add new artists.
We encourage you to send your work to other galleries in the area. You may want to visit the Chamber of Commerce website to aid your pursuit of a local gallery.
Good luck with your work!
I will occasionally receive email rejection letters - also a good opportunity for the gallery owner or director to add a personal touch.
Here's one that I liked:
Dear Deanna,
Thank you so very much for your interest in our gallery. Your submission was wonderfully designed. Elusive is probably my favorite of the series you sent. The colors and composition are great. Unfortunately your work does not meet our needs at this time. I want to thank you for thinking of us, and I do wish you the very best of luck.
Best regards...
Another good email:
Dear Deanna,
Thank you for sending information about your artwork to the gallery. I took the opportunity to visit your website (nice, by the way) and I can see why you felt there is a commonality in your and our aesthetic. Unfortunately, we aren't currently looking to take on new artists at this time. I would like to keep your brochure on file for possibilities in the future.
Thank you again, and good luck in your artistic endeavors.
These personal letters usually include a note about something that they liked about the work (which is nice to hear). Sometimes they will say that they think the imagery is not right for the gallery but not go into any detail as to what that might mean. I understand that gallery people look at a lot of submissions and can't possibly critique everything that crosses their desk, but it would be helpful to know why my "imagery is not right for the gallery." Maybe that's just a way to say they don't like it.
I think I've only received one letter that offered constructive criticism:
We enjoyed viewing your work and though it is visually intriguing, we suggest you compose larger pieces.
And there was another one that said:
Our client base really responds to more representational artwork.
I also like the letters that say something like:
Please do resubmit in the future as the work progresses or changes. We would love another opportunity to take a look.
or
I hope you will keep us updated on developments in your work.
I know that they are open to looking at my work again in the future. Maybe they see potential in my work or maybe they want someone with more shows or that is more established. Who knows?
Here's what sounds like a standard form rejection letter (in case that's what you're looking for):
Thank you for bringing your work to our attention. Unfortunately we are not in the position to take on any new artists at this time, as we are committed to the artists represented by the gallery and to our current exhibition schedule.
Thank you for your interest in X Gallery. We wish you the best of luck in finding representation.
When I started sending out my brochure to galleries, I would occasionally receive a letter or email back, but most of the time I wouldn't hear anything at all. So I started sending a SASE. That helped - often I would receive a letter but mostly I would get a note sent back on my cover letter. Most of them were nice but one gallery simply wrote, "This is not for us," on the cover letter and sent it back. A couple just shoved everthing in the SASE and sent it back without any note or acknowledgement at all. I understand that people are busy, but come on. That's just rude.
When I got those, I had intended to post something about the galleries in question and warn other artists to avoid them because they were rude and insensitive to artists. But I got over it. Everybody's entitled to a bad day... My good experiences have far outnumbered my bad, so I have faith that the art world is not such a horrible place.
Have you gotten any particularly great or horribly awful rejection letters?
To commiserate with other artists about rejection, check out:
Rejection Letters of an Emerging Artist
Rejection Collection
Images on CD
Sofia asked about my process for putting images of my artwork on a CD when I send out proposals.
Unless there are specific guidelines, this is what I put on my CD:
- a PowerPoint presentation (saved as both PowerPoint and slide show)
- a pdf version of the presentation
- a folder of jpgs of the images in the presentation
- resume (pdf and Word)
- artist's statement (pdf and Word)
I think that most people have PowerPoint on their computers. If they don't, then hopefully the slide show will play. If not, then hopefully they have Acrobat Reader and the pdf file will work. If not, then they will at least have some sort of image reader that will read the jpg files. If not, then I guess I've sent them a frisbee.
Here's how I create the PowerPoint presentation:
The first slide is a large background image (a painting detail) with my name reversed out in white.
The next few slides (12-20, depending on the situation) include images of my work and installation shots. The images are good quality and they fill up most of the page. I made the background black and reverse out the title and media information.
I then include a slide with my artist's statement.
Lastly, I include several slides with my resume and contact information.
I save the file as PowerPoint and then do a Save As and in the Save dialog box, where it says Save as Type, I choose PowerPoint Show. This creates a file that will run in PowerPoint viewer if you don't have PowerPoint.
I also save a pdf version by either selecting Convert to Adobe PDF (if you have this capability, you will see an Acrobat icon in the toolbar), or by printing to Adobe PDF (it will be an option under printer name in the print dialog box). I have the full version of Acrobat, so I open it up and crop the excess white border that it sometimes creates and I make sure that it opens the way I want it to.
I then also put each jpg image into a folder. I name the files so that they will appear in the same order as the images in the slide show -
01.dwood_title.jpg
02.dwood_title.jpg
etc.
I include my name in case the files or the CD somehow get lost, they'll at least know whose images they are. I also name them 01, 02, 03, etc, so that they will be in the correct order in the list.
I do the same to the title of my resume and artist's statement:
dwood_resume
dwood_statement
I also create a color print out "slide list" or "image script" that includes thumbnails and titles of all of the images on the CD - so someone can see the images at a glance without even putting the CD in the computer.
Also, I can't stress enough how important it is to read submission guidelines, if there are any. You don't want to spend all your time putting together a CD when they only want slides. And if they do accept images on CD, be sure to note if they have guidelines for image resolution, file sizes and formats (jpg, tiff, etc).
Thanks for the question, Sofia. Good luck!
Unless there are specific guidelines, this is what I put on my CD:
- a PowerPoint presentation (saved as both PowerPoint and slide show)
- a pdf version of the presentation
- a folder of jpgs of the images in the presentation
- resume (pdf and Word)
- artist's statement (pdf and Word)
I think that most people have PowerPoint on their computers. If they don't, then hopefully the slide show will play. If not, then hopefully they have Acrobat Reader and the pdf file will work. If not, then they will at least have some sort of image reader that will read the jpg files. If not, then I guess I've sent them a frisbee.
Here's how I create the PowerPoint presentation:
The first slide is a large background image (a painting detail) with my name reversed out in white.
The next few slides (12-20, depending on the situation) include images of my work and installation shots. The images are good quality and they fill up most of the page. I made the background black and reverse out the title and media information.
I then include a slide with my artist's statement.
Lastly, I include several slides with my resume and contact information.
I save the file as PowerPoint and then do a Save As and in the Save dialog box, where it says Save as Type, I choose PowerPoint Show. This creates a file that will run in PowerPoint viewer if you don't have PowerPoint.
I also save a pdf version by either selecting Convert to Adobe PDF (if you have this capability, you will see an Acrobat icon in the toolbar), or by printing to Adobe PDF (it will be an option under printer name in the print dialog box). I have the full version of Acrobat, so I open it up and crop the excess white border that it sometimes creates and I make sure that it opens the way I want it to.
I then also put each jpg image into a folder. I name the files so that they will appear in the same order as the images in the slide show -
01.dwood_title.jpg
02.dwood_title.jpg
etc.
I include my name in case the files or the CD somehow get lost, they'll at least know whose images they are. I also name them 01, 02, 03, etc, so that they will be in the correct order in the list.
I do the same to the title of my resume and artist's statement:
dwood_resume
dwood_statement
I also create a color print out "slide list" or "image script" that includes thumbnails and titles of all of the images on the CD - so someone can see the images at a glance without even putting the CD in the computer.
Also, I can't stress enough how important it is to read submission guidelines, if there are any. You don't want to spend all your time putting together a CD when they only want slides. And if they do accept images on CD, be sure to note if they have guidelines for image resolution, file sizes and formats (jpg, tiff, etc).
Thanks for the question, Sofia. Good luck!
Links
My friend Trayc Claybrook has a website and a brand new blog, All Day Painter.
Show her some love.
She alerted me to this blog: Accidental Creative.
From their "about" section:
THE ACCIDENTAL CREATIVE CO. is committed to bringing creative freedom to the masses! It is the age of creativity, and “cover bands” don’t change the world. You MUST find your unique voice if you are going to thrive.
And for some holiday fun, here's an origami Christmas card generator.
Show her some love.
She alerted me to this blog: Accidental Creative.
From their "about" section:
THE ACCIDENTAL CREATIVE CO. is committed to bringing creative freedom to the masses! It is the age of creativity, and “cover bands” don’t change the world. You MUST find your unique voice if you are going to thrive.
And for some holiday fun, here's an origami Christmas card generator.
Interested in the wholesale marketplace?
I received an email recently from Daniel Waldman from Buyer's Market of American Craft:
I wanted to let you know about our Visiting Artist (VA) program, which your readers may find interesting. The VA program offers artists the opportunity to explore the wholesale marketplace before taking the plunge as a wholesale exhibitor. We have a MySpace page here:
http://www.myspace.com/visitingartist
Our full program schedule can be found here:
http://www.buyersmarketonline.biz/viarpr.html
Check it out.
I wanted to let you know about our Visiting Artist (VA) program, which your readers may find interesting. The VA program offers artists the opportunity to explore the wholesale marketplace before taking the plunge as a wholesale exhibitor. We have a MySpace page here:
http://www.myspace.com/visitingartist
Our full program schedule can be found here:
http://www.buyersmarketonline.biz/viarpr.html
Check it out.
Packing and shipping artwork
Packing artwork has been on my mind lately. I’ve spent the last couple of weekends packing up most of my work (10 boxes!) to ship off to a solo show at the Truckee Meadows Community College in Reno, Nevada. And I'm helping to make the boat payment for my local UPS Store owner...I’m not an expert on packing and shipping artwork, but I have worked as a gallery assistant and I’ve unpacked artwork for a couple of national juried shows. So I do consider myself an expert on how NOT to pack and ship artwork. I have seen some amazingly stupidly packed boxes!
So I thought I would share some observations, tips, and techniques for packing and shipping that I’ve picked up over the years.
Reusable packing materials
First of all, if you’re shipping work that you know will be returned to you (a juried show, for example), then be sure to use easily reusable packing materials. Think about what it must be like at a juried show – there’s work coming in from all over the country, the people unpacking and repacking your work could be volunteers with little or no experience handling artwork – you want to make it as clear as possible for them to unpack your work and repack it after the show.
Avoid using packing peanuts. They’re not good protection because they can settle during shipping. They’re also a complete pain in the ass and gallery assistants hate them with a passion (at least my coworker and I did).
Clear instructions
It’s helpful to mark the spot on the box where you want it opened. As a gallery assistant, I LOVED the anal-retentive artists who sent unpacking and packing instructions (if you’re unpacking 50 boxes, you don’t want to have to think too hard about any of them). Just make it as easy as you possibly can. You don’t want the person who will be handling your artwork to be hating on you because you made her spend 20 minutes picking up peanuts or you wrapped something really tightly in so much bubble wrap that it won’t go back in the box later or realize that she opened the wrong end of the box and will have to spend extra time fixing it when she re-packs. Oh. Sorry. Flashbacks…
So when I pack something that is fairly complicated, I will include instructions. Pictures are also helpful, especially if the instructions are complicated.
Here’s an example of some instructions I wrote up for a fairly complicated package. I had 3 artist’s books in one box, and they had to be put back “just so” in order for them to fit. pdf file (120 KB)
Padding
Basically, you want to have as much protection between your artwork and the cold, cruel world as possible.
I pack my paintings in foam core boxes that I make myself. I then stack a few of those boxes inside a cardboard box. I line a larger box with foam and include the smaller box inside. So I basically have the paintings triple-boxed.
a recent batch of foam core (and a few cardboard) inner boxesAirfloat boxes
http://www.airfloatsys.com/
I’ve never used them myself, but I have unpacked quite a few. I think they’re fairly expensive, but they might be worth it for you.
The boxes are reinforced, easy to open, and re-usable. The boxes include 3 sheets of foam – one sheet protects your artwork on the bottom, one on the top, and you create a hole in the center piece of foam so that your piece fits snugly into it.
Crates
If you have tools and carpentry skills, you can make your own wooden crates. You can also have them made for you. Crates are expensive to ship because they’re usually heavy, but they can be good protection for your artwork, especially sculpture.
If you use a crate, be sure to mark very clearly which screws should be removed to open the crate.
To sum up, here is a basic list of packing tips that I created for local juried show participants:
Protect the artwork from dust and moisture:
- Wrap the artwork with protective, acid-free paper such as glassine or tissue paper
- Cover the artwork with white cotton fabric (recommended for textiles, ceramics, and wood)
- Wrap the artwork loosely in plastic
Protect the artwork from damage:
- If possible, use two containers; a smaller box cushioned on all sides inside a larger box can protect your artwork from bumps and sharp objects
- Insulate the artwork with padding such as bubble wrap, upholstery foam, or Styrofoam. NOT recommended: loose material such as any type of Styrofoam peanuts.
Identify your artwork:
To sum up, here is a basic list of packing tips that I created for local juried show participants:
Protect the artwork from dust and moisture:
- Wrap the artwork with protective, acid-free paper such as glassine or tissue paper
- Cover the artwork with white cotton fabric (recommended for textiles, ceramics, and wood)
- Wrap the artwork loosely in plastic
Protect the artwork from damage:
- If possible, use two containers; a smaller box cushioned on all sides inside a larger box can protect your artwork from bumps and sharp objects
- Insulate the artwork with padding such as bubble wrap, upholstery foam, or Styrofoam. NOT recommended: loose material such as any type of Styrofoam peanuts.
Identify your artwork:
- Include the artist’s name and the title on the back or bottom of the artwork
- Write your name on all exterior sides of all shipping containers using permanent marker
- Cover any paper labels with clear tape
- Identify your container as “FRAGILE” (ask your shipping company for labels)
- Identify where you would like the container to be opened by writing “OPEN THIS SIDE,” or “OPEN HERE”
- Include detailed unpacking and packing instructions
Resources:
http://www.airfloatsys.com/ - inexpensive, re-usable packaging solutions for shipping fine art
http://www.lightimpressionsdirect.com/ - archival materials
http://www.uline.com/ - boxes and plastic bags
- Write your name on all exterior sides of all shipping containers using permanent marker
- Cover any paper labels with clear tape
- Identify your container as “FRAGILE” (ask your shipping company for labels)
- Identify where you would like the container to be opened by writing “OPEN THIS SIDE,” or “OPEN HERE”
- Include detailed unpacking and packing instructions
Resources:
http://www.airfloatsys.com/ - inexpensive, re-usable packaging solutions for shipping fine art
http://www.lightimpressionsdirect.com/ - archival materials
http://www.uline.com/ - boxes and plastic bags
Update:
For textile artists, check out Lisa Call's post where she explains how she ships large quilts.
MOO cards
My little box of MOO MiniCards was waiting for me in the mailbox today! I'm very excited. They're so cute!They're packaged in a cute little box with a sleeve. Inside are 100, 2 3/4" x 1 1/8" cards - less than half the size of a standard business card.
The images on the backs can be all different (I think I got 3 of each of mine) - you can get 100 different images. This is what's so exciting to me. Maybe I'm easily amused?
You can put up to 4 lines of information on the front and you have a limited choice of fonts and colors.They take your images from your flickr page, so you have to have a flickr account (they're free). You can select the images you want to use and select the areas that you want to print. Most of my paintings are square, so the format was a little odd - most of my cards ended up being essentially details of paintings.
You also need to make sure that you upload higher-res images than you normally would. They recommend 640 x 480. A couple of mine were only 300 x 300 and they turned out fine, though.
Oh, and I guess they were fairly pricey for only 100 cards ($19.99), but you can get 100 different images, for cryin' out loud! How cool is that? And did I mention that they're super cute?
Check 'em out!
www.moo.com
www.flickr.com