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 business of art. Show all posts
Showing posts with label business of art. Show all posts
More Thoughts on Pricing Your Work
I was at a meeting of artists last weekend and the subject of pricing came up, as it does often among artists. When I got home that evening I had an email from another artist asking me about my thoughts on pricing artwork.
My friend Sharon Kyle-Kuhn just sent me a link to this Art-Tistics post about pricing artwork. I've written about the subject before, too. And Alyson Stanfield has written about it on her Art Biz Blog several times...
The Art-Tistics author discusses the need to have consistent pricing everywhere - every gallery that sells your work, regardless of region, and even your own studio.
"But artists must be consistent in their pricing and accept the fact that if they are going to work with an art gallery or art dealer or both, then they can’t have them competing with each other and also with the artist, because a good art dealer’s job is to protect both the artist and the collector."
I know for some artists, a 50% commission (which is standard) seems really steep. But the gallery (if it's a good gallery, doing its job) will earn that amount. They will learn all they can about your work and your process and share that information with their customers. They will promote your work in the press. They will contact collectors who have purchased your work in the past. They are salespeople. They want to sell your work as much as you do, and they'll work hard to make sure that happens.
And if you don't believe in galleries and you have the energy and enthusiasm and skills to market and sell your own work, then that's great. If that's the case, the author states, "... you control prices and can do whatever you want, and hopefully won’t be having art 'sales' where you’ll be 'discounting' the work that you sold to collectors a week earlier for a specific price, to a much lower price."
So if your work is in several galleries and you sell work from your studio, please be consistent with your pricing!
My friend Sharon Kyle-Kuhn just sent me a link to this Art-Tistics post about pricing artwork. I've written about the subject before, too. And Alyson Stanfield has written about it on her Art Biz Blog several times...
The Art-Tistics author discusses the need to have consistent pricing everywhere - every gallery that sells your work, regardless of region, and even your own studio.
"But artists must be consistent in their pricing and accept the fact that if they are going to work with an art gallery or art dealer or both, then they can’t have them competing with each other and also with the artist, because a good art dealer’s job is to protect both the artist and the collector."
I know for some artists, a 50% commission (which is standard) seems really steep. But the gallery (if it's a good gallery, doing its job) will earn that amount. They will learn all they can about your work and your process and share that information with their customers. They will promote your work in the press. They will contact collectors who have purchased your work in the past. They are salespeople. They want to sell your work as much as you do, and they'll work hard to make sure that happens.
And if you don't believe in galleries and you have the energy and enthusiasm and skills to market and sell your own work, then that's great. If that's the case, the author states, "... you control prices and can do whatever you want, and hopefully won’t be having art 'sales' where you’ll be 'discounting' the work that you sold to collectors a week earlier for a specific price, to a much lower price."
So if your work is in several galleries and you sell work from your studio, please be consistent with your pricing!
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.
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!
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 . . .
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.
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!
Different Bodies of Work
Recently I've been wondering how to handle marketing different bodies of work. I guess I've always had 2 distinct bodies of work - paintings and artist's books. Most of my books haven't really dealt with the same imagery or subject matter as my paintings, so I've kept them separate. I really haven't marketed them much, since there aren't many galleries that carry artist's books. Mostly I've just entered them into juried book shows, when I can find them.
Deanna Wood, At the Park (detail), inkjet prints, chain, pipe, and aluminum
My "main" body of work in painting has been the Seeking Shelter series, dealing with the idea of tornadoes and dreams of tornadoes. I have really enjoyed doing these paintings and I don't feel like I've exhausted all I have to say on the subject.
Deanna Wood, Fragile (in progress), 12" x 12", encaustic and collage on panel
But I have wanted to take a detour every now and then and work on something else. Last year, I collaborated with Trayc Claybrook, where we each created work based on the theme Waxy Buildup. We're in the process of finding a venue for our combined work. We have two that have accepted our proposal, but no firm dates yet.
Deanna Wood, Poise, 12" x 12", collage and encaustic on panel
Some time last year, I began to play around with the idea of "palimpsest." When tablets, paper or parchment was not so cheap and plentiful, people would often scrape off or erase writing and reuse the tablet or sheet for something else. Occasionally the writing that had been erased would reappear. My encaustic process often involves scraping and reusing, so I began to play around with this idea. Initially, the work was too abstract for me, and I felt that I needed some imagery. I decided to incorporate bird silhouettes with the idea that birds sit around silently and listen to our secrets and then fly away with them. So the idea has evolved into hiding and revealing secrets.
Deanna Wood, Whispers, 24" x 36", encaustic and collage on panel
Initially I was worried that this work would seem too decorative or just "pretty*," and too different from my other work. But the feedback I've gotten has all been positive. And I do think it still looks like my work.
OK, so what do I do with it? I've gotten a couple of suggestions from other artists that I admire - one suggested that I contact art consultants and another suggested that I create a few more pieces and approach one particular local gallery.
Alyson Stanfield, in her book I'd Rather Be in the Studio, suggests that each distinct body of work should be marketed differently. "Each body of work that looks like a different person did it will be marketed to a different audience."
I'm sort of doing that. I'm offering the Palimpsest work to my current galleries but also stressing that I'm continuing my Seeking Shelter series as well, and they can have whatever they want. I'm also working on more to build up the Palimpsest body of work to market to new galleries and consultants.
I keep track of all the galleries that I have sent packets to, and I will send them information on my new work. Perhaps they will see potential for the new work that they didn't see in the old.
If you create distinct bodies of work, how do you handle marketing them?
* As in, "not serious." I respond to most art emotionally and tend to be drawn to work that I find "beautiful." I don't know why I avoid that label for my own work.
----------------
Now playing: The Sea And Cake - Up On Crutches
via FoxyTunes
Deanna Wood, At the Park (detail), inkjet prints, chain, pipe, and aluminum
Deanna Wood, Fragile (in progress), 12" x 12", encaustic and collage on panel
Deanna Wood, Poise, 12" x 12", collage and encaustic on panel
Deanna Wood, Whispers, 24" x 36", encaustic and collage on panelOK, so what do I do with it? I've gotten a couple of suggestions from other artists that I admire - one suggested that I contact art consultants and another suggested that I create a few more pieces and approach one particular local gallery.
Alyson Stanfield, in her book I'd Rather Be in the Studio, suggests that each distinct body of work should be marketed differently. "Each body of work that looks like a different person did it will be marketed to a different audience."
I'm sort of doing that. I'm offering the Palimpsest work to my current galleries but also stressing that I'm continuing my Seeking Shelter series as well, and they can have whatever they want. I'm also working on more to build up the Palimpsest body of work to market to new galleries and consultants.
I keep track of all the galleries that I have sent packets to, and I will send them information on my new work. Perhaps they will see potential for the new work that they didn't see in the old.
If you create distinct bodies of work, how do you handle marketing them?
* As in, "not serious." I respond to most art emotionally and tend to be drawn to work that I find "beautiful." I don't know why I avoid that label for my own work.
----------------
Now playing: The Sea And Cake - Up On Crutches
via FoxyTunes
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...
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...
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
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,
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.
----------------
Now playing: The Decemberists - Think About Me
via FoxyTunes
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.
----------------
Now playing: The Decemberists - Think About Me
via FoxyTunes
A Learning Experience
Which is what people seem to say when something goes wrong and they're trying to be positive...I received work back from a show and the work was not packed properly. I was mad at first but now I'm just mad at myself. It's mostly my fault. I helped unpack the work but wasn't there to pack it up at the end. I just assumed that someone who helped unpack would pack it up or at least clue that person in...
Never assume.
So what happened was that whoever packed the paintings didn't put the archival paper on top of the paintings. This allowed the bubble wrap to lay directly against the surface of the painting and the pattern of the bubble wrap was transferred to the wax. It's hard to photograph but you can see it in the photo above in the right half - those shiny areas.
Maybe it's easier to see in this one - you can see dark and shiny circles:
What gets me, though, is that there was a piece of paper in EVERY box. Every painting was sent back packed in the correctly labeled box but the protective paper was disregarded underneath... Somewhere along the line it seems like someone would have wondered what it was for and clue in. Oh well...Lesson: I should have included detailed packing instructions.
Fortunately it can be fixed. I will have to reheat each piece very carefully with a heat gun - that seems to make it go away. If you've done encaustic, though, you know that that can be tricky. Sometimes if you heat something just a teeny bit too much the wax will begin to run and you can lose your images, sharp lines, etc.
Here are the foamcore boxes that I make for my paintings. There are a few that I made out of cardboard, too...
I put labels on the top and sides with my name and address and I tape a thumbnail image on the top and sides as well.Yes. I'm anal retentive.
But in a good way?
Update:
Kirsty Hall wrote a great post about packing artwork.
I also posted about packing and shipping previously (and obviously didn't take all of my own advice!).
And I should also mention that Cheryl McClure found some perfect already-made boxes.
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!
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.
----------------
Now playing: Red House Painters - Another Song For A Blue Guitar
via FoxyTunes
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.
----------------
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.
----------------
Now playing: Blondie - X Offender
via FoxyTunes
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.
----------------
Now playing: Blondie - X Offender
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
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!
Writing
Back in 2004, I was lucky to be able to attend the annual College Art Association (CAA) conference in Seattle. Most people go to the conference to present papers or to interview for jobs. I just went to see what it was all about. I attended many of the sessions, hung out with friends, did a little sight-seeing, and saw some art while I was there.
In a cleaning frenzy yesterday, I came across some information that I had saved from the conference. At my professor's request, I had typed up my notes and presented them to my fellow grad students. I found the CD with the notes, so I thought I'd share some of the info with you, too.
Below are my notes from a session titled "Harnessing the Power of the Pen: Professional Writing Strategies for Future Artists, Art Historians, and Museum Professionals." I've previously posted my opinions and tips on writing an artist's statement, but the panelists also talked specifically about writing grants and writing as a curator and as a freelancer. I've listed the panelists and their specific advice:
Artist’s Statements
Madeline Djerejian, photographer
Stressed the importance of voice and consideration of audience.
There are no real rules for artist’s statements, but there are certain things that people want to read.
Introduces the reader to your work and to you
Supplement to visual information
Not so much a description but it should make people want to look at your work
Crystallizes your thoughts about the work
Should stand on its own and be clear
There are different kinds of statements for different situations
· Specific body of work
· Body of work as a whole (philosophy)
· 1 page - may accompany a show or a grant application
· 1 or 2 paragraph statement for a portfolio or application
· 25-word statement – central idea for a cover letter or bio
Keep notes while you’re working
Consider your audience – assume that the reader has never seen your work
Don’t be defensive – consider that the reader is interested
Use plain and direct language
4 or 5 points might be enough
Consider:
1. What kind of materials are you using and why?
2. Where did the initial inspiration for the work come from?
3. What is the central or guiding image in the work?
4. Are there elements such as sound or installation?
5. Any notable collaborators?
6. Where does the piece fit into your overall work or career?
7. Is the work a limited edition?
8. Is there a specific venue that the work is geared for?
People don’t want to struggle to read it – avoid flowery or pretentious language
Develop a strong first sentence and opening
Keep it as short as possible
Don’t explain everything
Don’t announce what you’re trying to do, just say what you’ve accomplished
Don’t use catch-phrases
Be specific
Not just a list of things you like and don’t like; tell us why
Use first person
Don’t use “we”
Don’t be ashamed of your obsessions or interests if it’s directly related to the work
Don’t be wishy-washy
Don’t brag
Be careful with poetic language
OK to be personable and fun
Remember that it’s your statement
Use 12-point font
If you are given guidelines for a specific application, follow them
Ask a non-artist to read it
Spell check
Be honest with yourself
It’s never finished for very long (revise it periodically)
Review your statement alongside the work
Be true to yourself and true to your work
Suggested looking at http://www.nyfa.org/ to see successful artist’s statements (ones that have received grants)
Curatorial Writing
Bruce Robertson, Center for American Art, LA
From object label to catalog essay:
· The voice is coming from inside the museum, heavily institutional
· There is a heavy editing process (editors, PR, education, marketing)
· Give up ownership – just something that is there to be used
· It’s more important for it to be out than to be perfect
· Audience is the public; consider that you’re writing for an educated public (college freshmen, not educated in art, no need for dumbing down; you’re just extending their knowledge base)
· You can’t tell the whole story
· Most is rhetorical – public speech aimed at a community
· You want to convince an audience of some point and that it’s important
· There’s a pressure in institutions for blandness
· Don’t use abstract or passive language; vary your sentence structure
Grant Writing:
· The audience is usually someone with a non-art degree
· Get their attention in the first paragraph
· Aimed generally
· Object and question first, theory second
· Say what it is first, in simple language
· Follow the guidelines
· Don’t parade your genius
· Foucault is not going to read it – nobody cares about your academic theories
Freelance Writing
Lorraine Karafel, Institute of Fine Arts, New York University, and Metropolitan Museum of Art
She is a writer trained as an art historian
Freelance writing is sometimes scholarly writing, sometimes exhibit reviews, articles, proposals, exhibition materials, audio guides, of film strips.
The structure, language, and length are specific to the type of material and different information is included
Consider that a book is read privately and a label is read publicly
You’re often reshaping long into short and re conceiving it and how it is used
Use words to make the subject compelling
Might need to bring a different viewpoint to the writing
Reveals the writer’s personal relationship to the work
Include the history and why it is a work of art
Choose what conveys understanding of the work
Audience may be peers
Determine audience and gear the writing to them
Thoughtful and intimate
Research and knowledge presented in a passionate form
Look at examples of similar items or publications, look at format, style
Read your text out loud; read it to someone who is not in the field
Must be clear to a wide audience
Reveal your love for the subject
Help the reader experience art in a new way
In a cleaning frenzy yesterday, I came across some information that I had saved from the conference. At my professor's request, I had typed up my notes and presented them to my fellow grad students. I found the CD with the notes, so I thought I'd share some of the info with you, too.
Below are my notes from a session titled "Harnessing the Power of the Pen: Professional Writing Strategies for Future Artists, Art Historians, and Museum Professionals." I've previously posted my opinions and tips on writing an artist's statement, but the panelists also talked specifically about writing grants and writing as a curator and as a freelancer. I've listed the panelists and their specific advice:
Artist’s Statements
Madeline Djerejian, photographer
Stressed the importance of voice and consideration of audience.
There are no real rules for artist’s statements, but there are certain things that people want to read.
Introduces the reader to your work and to you
Supplement to visual information
Not so much a description but it should make people want to look at your work
Crystallizes your thoughts about the work
Should stand on its own and be clear
There are different kinds of statements for different situations
· Specific body of work
· Body of work as a whole (philosophy)
· 1 page - may accompany a show or a grant application
· 1 or 2 paragraph statement for a portfolio or application
· 25-word statement – central idea for a cover letter or bio
Keep notes while you’re working
Consider your audience – assume that the reader has never seen your work
Don’t be defensive – consider that the reader is interested
Use plain and direct language
4 or 5 points might be enough
Consider:
1. What kind of materials are you using and why?
2. Where did the initial inspiration for the work come from?
3. What is the central or guiding image in the work?
4. Are there elements such as sound or installation?
5. Any notable collaborators?
6. Where does the piece fit into your overall work or career?
7. Is the work a limited edition?
8. Is there a specific venue that the work is geared for?
People don’t want to struggle to read it – avoid flowery or pretentious language
Develop a strong first sentence and opening
Keep it as short as possible
Don’t explain everything
Don’t announce what you’re trying to do, just say what you’ve accomplished
Don’t use catch-phrases
Be specific
Not just a list of things you like and don’t like; tell us why
Use first person
Don’t use “we”
Don’t be ashamed of your obsessions or interests if it’s directly related to the work
Don’t be wishy-washy
Don’t brag
Be careful with poetic language
OK to be personable and fun
Remember that it’s your statement
Use 12-point font
If you are given guidelines for a specific application, follow them
Ask a non-artist to read it
Spell check
Be honest with yourself
It’s never finished for very long (revise it periodically)
Review your statement alongside the work
Be true to yourself and true to your work
Suggested looking at http://www.nyfa.org/ to see successful artist’s statements (ones that have received grants)
Curatorial Writing
Bruce Robertson, Center for American Art, LA
From object label to catalog essay:
· The voice is coming from inside the museum, heavily institutional
· There is a heavy editing process (editors, PR, education, marketing)
· Give up ownership – just something that is there to be used
· It’s more important for it to be out than to be perfect
· Audience is the public; consider that you’re writing for an educated public (college freshmen, not educated in art, no need for dumbing down; you’re just extending their knowledge base)
· You can’t tell the whole story
· Most is rhetorical – public speech aimed at a community
· You want to convince an audience of some point and that it’s important
· There’s a pressure in institutions for blandness
· Don’t use abstract or passive language; vary your sentence structure
Grant Writing:
· The audience is usually someone with a non-art degree
· Get their attention in the first paragraph
· Aimed generally
· Object and question first, theory second
· Say what it is first, in simple language
· Follow the guidelines
· Don’t parade your genius
· Foucault is not going to read it – nobody cares about your academic theories
Freelance Writing
Lorraine Karafel, Institute of Fine Arts, New York University, and Metropolitan Museum of Art
She is a writer trained as an art historian
Freelance writing is sometimes scholarly writing, sometimes exhibit reviews, articles, proposals, exhibition materials, audio guides, of film strips.
The structure, language, and length are specific to the type of material and different information is included
Consider that a book is read privately and a label is read publicly
You’re often reshaping long into short and re conceiving it and how it is used
Use words to make the subject compelling
Might need to bring a different viewpoint to the writing
Reveals the writer’s personal relationship to the work
Include the history and why it is a work of art
Choose what conveys understanding of the work
Audience may be peers
Determine audience and gear the writing to them
Thoughtful and intimate
Research and knowledge presented in a passionate form
Look at examples of similar items or publications, look at format, style
Read your text out loud; read it to someone who is not in the field
Must be clear to a wide audience
Reveal your love for the subject
Help the reader experience art in a new way