Chapter Eleven

Chapter Eleven- Helpful Hints
-Keep on track by creating a support group with like minded artists
-Without the art there can be no business
-Make the best you can, and then push yourself further
-It’s a great habit to get to the studio every day, though not a necessity
-Once you have achieved regular work habits hang onto them fiercely
-Get a studio
-it doesn’t have to be great but it must allow you to have privacy and the freedom to make a mess and leave it there
-Learn to balance your life and your art
-Beware of destructive assumptions
-Watch out for midcareer bitterness
-Reality will mold itself to fit your expectations, stay positive and optimistic
-Don’t be afraid to make mistakes
-Have fun

Chapter Nine

Chapter nine- Going Online
-Having any online presence is absolutely essential to your success as an artist
-The internet is becoming and soon will be the principal means of communication on the planet
- There are three options you can use for putting your work on the internet:
1. Joining an existing group website
2. Using a web template
3. Making your own site from scratch
The internet is a great way of getting your work seen. It’s much faster and very efficient. It can benefit you greatly and is a relatively easy to use resource. It can really help get your name out there and your work known.

Chapter Eight

Chapter Eight- Making Connections
-You want to exhibit and sell your art and be acclaimed for your efforts, but the vehicle that will make all these dreams come true is your connection with others
-At every point you have to interact with others to make things happen
• You need people to see your work, write about your work, and buy your work
-Widen your circle of art world connections and find new venues for exhibiting and selling your art is to take your work to a new city in search of opportunities to show it
-Use the phone, it’s horrible when you come in with your work and get rejected or embarrassed in person
-Plan what you will do before doing it
-Ways of connecting include attending gallery openings, or using a family connection

Chapter seven

I found this chapter very interesting because lately I have been thinking a lot about working in a gallery or becoming a curator. I think the comment about it being am adrenaline rush because I think that it is. Learning that one person shows look better on your resume but group shows attract more people was something that I guess makes a lot of sense but was something I have never thought about. I think that the Exhibition Time Line page along with the Group Show Tasks list page will come in handy in the future. I personally think that the naming of the show would be something that I would struggle most with, I even have trouble naming my photos haha! So because of this the advice given in this chapter will also come in handy. I do know that specific and interesting brings in a greater number of people but after that i'm lost. Tips on printing, publicity, and framing were also all very helpful!

Chapter six

A chapter about organization I think is a very good thing to have in a book like this. I try to be as organized as I possibly can. I generally pride myself in having the cleanest/most organized room in my parents house but advice on how to be even more so is always welcomed. The type of organization that I need the most work with would be keeping track of my activities and such. I think the chapter was helpful in this category. Some things that they listed to keep track of that I probably wouldn't have thought of are; materials out list, location of your artwork (even attaching digital images to the page), and the consignment form. All of the different examples of lists that were in this chapter are also very helpful and I have them book marked for future references!

Chapter five

To start out I LOVE the quote on the fourth page of this chapter by Mark Rothko "As an artist you have to be a thief and steal a place on the rich man's wall." this quote is funny but so very true! This chapter was a very helpful one when it comes to listing off things that all artists need to know. For example what you do once you have been invited to participate in an exhibition, issues to discuss with a gallery that wants to handle your work, and what to expect when working with a dealer. One good piece of advice that I remember was to always be willing to take some responsibility as far as publicity goes because no matter how they go about it they will usually be excited you want to offer to help and it is good for you to always open up the communication channels. The final thing I would like to say about this chapter is the quote on page 96 by Dave Hickey " In the art world, you can't be right all the time, but you can never be wrong." Ha this quote made me smile a little because I like to always be right :)

Chapter three

Opening this chapter it was very reassuring to see the first line " You have much more control over your life as an artist than many people will have you believe." I think this sentence would have a similar effect on most artists. I also like the part about figuring out what you want and what you want to be. I even highlighted the quote by Cyril Connolly "Better to write for yourself and have no public, than to write for the public and have no self." I will probably be adding this quote to my top ten :) This quot is a good piece of advice to help artists and even other people to learn who they are and not be afraid to let everyone else know it. The other thing I wanted to mention that I really liked was about setting goals "Change the goal. Instead of setting a goal of running every morning, decide you just have to get into your running clothes,"

Chapter 7

My reaction to this chapter was, “oh good this chapter informed and interested me about the setup process of art shows and convinced me even more that I should be working in an art gallery.” I decently learned a lot. The two things that stuck with me the most where, that a good art show makes for a happy neighborhood and that the time line for an art show goes really fast.

Intro and Chapter one Reading

I really liked how this reading talked a lot about being curious and figuring out if your really an artist. I like the quote on the second page of the intro "An artist can't stop himself. He really has no choice about it."-Terry Allen! I think this is cool because its almost like your art chooses you! The hard part is to realize it and put it into action. "but what is even more difficult is to know what your own truth is and to speak it regardless of what the art world or anyone else has to say about it." (pg. 3 of intro) I really like and agree with this last quote :)

Chapter 11 Helpful Hints.

This chapter was all about which ways you should go about some things. Art always comes first. That is the whole point isn't it? Surround yourself with a few like minded people. Develop regular work habits. I think the most helpful information was about how you balance your life out and your art.

Chapter Ten

Always be yourself. Your art is your creation and it is the way you want it to be. don't listen to what people write about you. By putting yourself out there you will always get some kind of negative feed back. I thought this chapter was informational because it talked about how to get a publicist and what you need to do in order to make people actually want to talk about you and your work. Give them something that would make people interested in what you are all about.

chapter 7 reading

there was a lot of important information in this chapter about art exhibitions. it talked about what you need to get done and when you needed it done by. it was very planed out to every last detail. it talked about picking a show title, creating a press packet, writing a press release, designing the announcement, printing costs, framing art, and many more things.

chapter 6 reading

there was quite a bit more information in this chapter. a lot of things an artist needs to know, and how to do it. like keeping records. its important to keep everything organized. keep inventory,have consignment forms, have pricing decisions, and knowing how to ship your art.

chapter 3 reading

i enjoyed how this chapter was more about the individuals work and you need to make the work that you want to make, not what you think others might like. you make the work first and worry about the rest afterwards.

Chapter 1 reading

For this chapter i liked how they talked about the exhibition spaces. it gave me a better understanding of the differences of each. i also liked the ladder of success, on how it talked about types of exhibition space, status indicators, and publicity indicators and broke each one down.

Chapter 9

Thinking about putting your work online? I think it's a great idea, especially in today's world when EVERYONE is online 24/7. You can reach many more people to get them to look at your work. But you have to know what you're doing. research a site hard before putting your work on it. If you put your work on a sketchy website people won't take you seriously. You can also create your own website, which I would do. This chapter was pretty informational about what you should and should not do about putting up your work online.

chapter 8

this was an important chapter. You need to interact with people if you want any sort of career as a visual artist. put yourself out there. You have to be going to new places and meeting new people. Go to businesses, ask to put your work up. "I never got a job I didn't create for myself." - Ruth Gordon. Bottom line, if you want to make a career out of your work, YOU have to make it happen.

Chapter Eleven Blog

Through out the book we have been supplied with a great deal of valuable information. And as important as that information is, without tenacity and an open mind and heart it won’t take us far.

Life shrinks or expands in proportion to one’s courage. _Anais Nin

Create your own Art Community.

Keep away from people who try to belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great. _Mark Twain

A man can fail many times, but he isn’t a failure until he begins to blame somebody else. _John Burroughs

• Always remember the art comes first!
• Develop and maintain regular work habits.
• Get a studio.
• Learn to balance your life and your art.
• Be aware of destructive assumptions.
• Watch out for midcareer bitterness.
• There really is enough to go around!
• Don’t be afraid to make mistakes.

There is nothing fiercer than a failed artist. The energy remains but, having no outlet, it implodes in a great black fart of rage which smokes up all the inner windows of the soul. _Erica Jong

Chapter Nine Blog

Having your work on line is essential to being a success as an artist as it is the principal means of communication in society today.

Making money is art and working is art and good business is the best art. _Andy Warhol

Joining an Online Gallery/Group
Advantages:
• Technical aspect is already done for you
• Possibility of more traffic visiting a site with more artists
Disadvantages:
• The pages are preformatted, little room to be creative or individualize

Research galleries and look for ones with familiar artist who you respect, is the site easy to navigate? Does it have a presence you would be proud of?

Everything you can imagine is real. _Pablo Picasso

Fee based virtual Galleries provide you with all the tools to create and maintain a Web site. The gallery should be bringing traffic to your site but remember traffic doesn’t equal sales.

Juried virtual Galleries. Presumably you are then with more sought-after artists. Which will hopefully give your work more serious attention. They often take a percentage of sales and are more likely to have sales. Be sure to read the fine print and what you are getting into.

Community based virtual galleries. An advantage is to have the credibility of the organization and increased exposure to art people.

Creating your own web site gives you the pleasure of having complete control over how your art is presented. But you do have to create your own traffic. Building a web site takes focus; decide where you want your focus to be.

The perfect web site should include everything you would have in your artist packet.
• Images of your art
• Current bio
• Statements for each body of work
• Upcoming exhibition lists
• Contact information
• Mailing list/guest book
• Press page
• Links
• Site map
Do not personalize including pictures of family; interests or hobbies make it professional.

Research web sites and make notes of what you like about them.

Research web host’s, they are like landlords.

Get a domain name, like your real name you want it to be the same throughout your career.

Your goal is to be easily accessible to those searching for you.

He that will not apply new remedies must expect new evils; for time is the greatest innovator. _Francis Bacon


Tracy Rocca’s dos and do not's of web design
• Keep it simple
• Be consistent
• Make connections
• Plan for growth
• Make text legible
• Help visitors get around
• Don’t get too flashy
• Don’t keep visitors waiting
• Don’t reinvent the wheel
• Skip the intro
• Wait until you can do it right

The best way to predict the future is to invent it. _Alan Kay

Always check to be sure everything is working correctly.

Be courageous. It’s one of the only places left uncrowned. Anita Roddick

I have come to the realization that the art world is becoming more and more of an online thing. In today's art world if you do not have a website or a facebook page or a blog you are not going to be as known as you could be. I think that even this book is outdated. There are a lot more things out there that this book talks about. When you enter a gallery they usually have a website and a good gallery will want you to have a website for people to learn more about you and your work. I know a lot of artist at the SYMVA and I have talked to them about websites and the ones who have websites seem to be more known and the ones who get stories in the Rochester mag. There are organizations that you can enter that is a website and a search site all in one. Like MN Artist, a cool thing. I hope there are things like that all over the US. I think its just more work that is put on a artist. To become an artist in the 21st century is going to be really really time consuming. I have no idea how anyone will be able to have time to work on any art if there is so much to, just to get your name out.

chapter ten

Going Public How to start

• be yourself-the best.


• create a media database- list or contact people in newspaper, tv radio, magazine


• hiring a publicist-one that works with art, your media

Using your Media Lst

• solo shows


• group shows


• open studios


• a new body of work- ANNOUNCE IT!

The Secret to Getting Media Attention- they cant do news on everything.

Participate in the World Around you- donate a percentage to a good cause, hold a fundraiser.

Chapter eleven

Helpful Hints Creating your own art community- people who have the sames goals and are willing to help each other out, helping with writing statements, hanging art, making a resume. Essential Ways of thinking

• art comes first- push yourself further and further


• Regular work habits- set times when your will be in the studio\


• get a studio


• learn to balance art and life


• beware of destructive assumptions


• watch out for midcareer bitterness


• don't be afraid to make mistakes

AND HAVE FUN!

Chapter 9

Going online. Joining an Online Gallery or Group find one that has a lot of traffic to the site.

• Brick and mortar gallery web sites- real life gallery that has a website.


• Virtual galleries, fee based-


• Juries virtual galleries- some fee based with higher quality artists


• Virtual galleries, community based- is usually free as part of a membership, you have mlittle to no say on how the web site looks

Creating a Web Site Using a Web Template

Creating your Own Web Site

• Finding the right Web Designer- costing around 1500 dollars


• what to include on your Web Site-should include art, bio, contact info, statements, names of art.


• Finding a Web Host-


• Making Updates

Drawing people to your site-Page Titles, Meta Tag description, text on your pages, images, creating links

chapter eight

Making Connections Approaching a New City: scouting, preparing, planning, what to bring, when you arrive, follow up phone calls, presenting, when you return home. Other ways: side door, gallery opening, using family contacts, an art writer.

chapter seven

Staging an artist exhibition Time Line: 3+ months-find spaces, show dates, reception date, show title, delegate tasks, artwork for press release. Ten weeks- write press release. Eight weeks- mail press release, design announcement. Six weeks- print, update mailing list. One month- Final decision, frame art, buy stamps, labels, assemble binder. Two weeks- mail announcements, plan and order food, decide what going to wear, line up food,description labels, price list. Several days before- hang work, nonperishable items, last minute changes to labels. before reception- perishable food, refereshment table, guest book, artist binder. At reception-make guests feel welcome, have fun. During exhibition- private tours. After show- Take down art, deliver pieces, repair/ paint art gallery walls.

Chapter 9 Blog

Chapter 9 goes in depth about having an 'online presence' in todays world. The author says that it's not a matter of if you should or should not put your artwork online, it's a matter of how it should be done. It's very important to be online nowadays because the internet and cyberspace is the best place and easiest way to communicate. There are a few different ways to go about this. You can join an existing group website, use a web template, or just create your own site. Almost all artists, whether famous or not, have a website of their own for their artwork now. I think that would be one of the most effective ways of getting out there, but probably not the easiest. The nice thing about having your own website is that you can have full and total control about how the site looks and how your work is presented.

The chapter goes into more detail about what should be added into the site and other ideas about display and that sort of thing.

Here's a great example of Martin Parr's Website.

Ch. 7 Blog Post

Chapter 7 is all about finding spaces for an exhibition if you decide you want to start one. There's also a nice checklist/timeline to look at to help you get started and to guide you. It's probably best to think small at first, and work your way up from there. Any place you can get your artwork shown is good. The more people that see your stuff, the better. Any publicity with it will only help you in the long run.

This chapter also helps with press releases and such to get your art show off the ground.

Ch. 6 Blog Post

Chapter six talks about the importance of keeping organized and getting a system going for yourself if you can't afford to make your own private office. You need to make sure you document everything you are doing. If you send art out, make sure you write down where it goes and everything that comes in as well. Keeping organized and on top of things is the key to being successful. If you can't keep organized very well, maybe hire someone to do it for you.

I guess the summary of the chapter for the most part is just keep records of everything, write everything down, and stay organized. That'll be one of the many keys to your success.

Chapter Eight

Chapter Eight
Making connections is your way of getting the word out about your work, getting people to your shows and selling your work. As the saying goes, it is who you know.

Key is being genuine, maintain a pure heart, it will attract the right people to you and soon your circles will grow.

Another way to grow your circles is to take your work to a new city in search of new opportunities. There are three approaches you can then take: the Best Way, visit the city of your choice go on a scouting mission to it, make a list of exhibition spaces return home write letters to all of them, then return a month later with your work. The Second Best Way is skip the scouting trip. The down fall being you will end up showing your work where it may not be appropriate but on the up side you save on travel expense in one trip. The Still Okay Plan is to skip the travel, you won’t see the exhibition spaces therefore harder to decide where you’d like you work displayed and it will be harder to bond in relationships so use the phone as much as possible. But this is still an okay plan.

Reality is nothing but a collective hunch. Lily Tomlin

During your scouting trip take the opportunity to interact with the staff of galleries. Introduce yourself and ask their name, talk about works you like, ask about approaching the gallery for a show, mention you’d like to send a packet and ask who it should be addressed to. Be sure to carry with slides or a CD on the chance they ask to see your work then. Be sure to the courtesy of showing as much interest in the gallery by looking around as you would like them to show you in your work.

When you return from your trip send out thank yous on color post cards of your work to all those you had real interactions with. Mention you were in the gallery and what you spoke to them about and that per their suggestion you are sending them you packet.

When choosing lodging for your trip make it somewhere centrally located. You will be exhausted, be sure it is somewhere you can relax. Sharing the trip with another artist could be a good option.

A handcart that you can strap your portfolio to is a great tool to have while going from gallery to gallery. Choose a portfolio to protect your art that is easy to open and show your work. Place your best work first to capture attention. Your portfolio should carry 15 to 20 pieces.

Always be nice to those younger than you, because they are the ones who will be writing about you. Cyril Connolly

Carry your laptop with you and methodical keep track of all your appointments.

A cell phone is a must. Start making appointments.

No one can make you feel inferior without your consent. Eleanor Roosevelt

Rehearse showing your portfolio on friends, formulate questions to answer.

Another way to make connections is to volunteer at nonprofits art spaces, museums or art galleries.

Attend gallery openings, rub elbows, and mingle.

Use family and friends connections.

Apply for a residency at an art gallery.

Become an art writer.

Enthusiasm is the electricity of life. How do you get it? You act enthusiastic until you make it a habit. Gordon Parks

Chapter 8 is about knowing people. The saying is its not what you know its who you know. In the beginning it talks about going into a new town, it tells you what you need to do to meet people. Such as find what galleries in the area and what kinda of art are in the galleries. It kinda a seems to be that you kind act like a tourist for a bit until you know what is what about that town. Its a really compelling chapter that tells you what to do. Its really helpful for when I move to a new place. This is another chapter that I will come back to again and again. The stuff that is helpful now is the stuff about getting your name out when you are not going to another place. I am going to start and going to all of the gallery openings and all of the exhibitions that are going in town. One thing that would be fun if I was a better writer, I would become an art writer. That would be an awesome job.

Chapter Seven

Staging an Art Exhibition

• Planning and creating your own exhibition is a brilliant way to introduce yourself to the public as an artist.

• Decide whether to make it a solo show or a group event.

• Group Show Tasks

1. Show Coordinator
2. Installation Chairperson
3. Written Materials Coordinator
4. Reception Coordinator
5. Announcement Designer
6. Press Release Committee

• From the experience of planning your own show you will gain skills in all aspects that go into the putting on and publicizing a show.

• Find a space to present your show; don’t limit your self to coffee shops or other venues that already have exhibition programs. Search you community for places with large vacant walls, the uniqueness of a location could add intrigue to your exhibition.

• Be gracious and amicable in dealing with those you choice to convince to use the wall space. Be sure to bring visuals of your work for their viewing. Let them know much you would like to display your art in their space.

• Try to ensure your exhibit hangs for six weeks to allow plenty of time for the publicity to take effect.

• Have your reception at the beginning of the show, allowing for people to return and view again.

• The more specific and interesting the title of the show the more people that is likely to come to it.

• A group title could be trickier to develop. Working with artist with similar styles could make it easier.

• And the trouble is, if you don’t risk anything, you risk even more. Erica Jong

• Assign tasks:

1. Create a buzz for the show
2. Create a press packet
3. Write a press release and plan how to send it out
4. Design announcements
5. Work with a printer/cost of printing
6. Mail/email announcements
7. Frame your art
8. Plan hanging your show
9. Plan the reception
10. Plan your actions at your opening
11. During the show
12. When it is all over

• Imagination is more important than knowledge. Albert Einstein
• The best way to have a good idea is to have a lot of ideas. Linus Pauling

Chapter Seven

Chapter seven
Staging an Art Exhibition
• Conceiving & producing your own exhibition is an excellent way to enter public life as an artist
• You will learn to plan, mount, and publicize a show & develop an understanding of the amount of work involved & what needs to be attended to when
• A successful exhibition can bring art to a larger audience, improve the neighborhood, and provide quite an adrenaline rush for you
• You must decide whether to put on a solo exhibition or include other artists
• A one person show looks better on a resume but a group show attracts more people
• Regardless of the style of the exhibition you decide upon, planning ahead will be the key to your success
• Any building with empty walls is a good candidate to hold your exhibition
• Begin with public spaces, like cafes & government buildings that already have exhibition programs in place
• When approaching the owner of a space be friendly and businesslike
• Bring slides of at least some of the artwork that will be shown, to give them a visual cue
• You may gain a lot by telling them how much you would like your art to be shown in their gallery
• When looking for a space not usually used for galleries be sure to consider & discuss with the owner how the work will be hung on the wall
• The traditional length for an exhibition is one month, but six weeks is better
• Allow plenty of time for publicity
• Group show tasks include: show coordinator, instillation chairperson, written materials coordinator, reception coordinator, announcement coordinator, press release committee
• Planning ahead is essential, no matter how many helpers you have
• Publicity should begin almost the moment the show is conceived
• When creating the press packet some will want it electronically and some will want a paper version
• Your press packet should include: a press release, a bio, a statement, reviews(if any), your website, and images of your art
• The press release should be written follow a standard form that should not be deviated from
• The costs of announcements can be pricey, the cheapest way is to do it yourself
• The main purpose of the announcements is to entice people to attend the reception , and or exhibition when its running
• Mail announcement two weeks the opening of the show, allowing the receiver enough time to plan for the event
• Emailing announcement is another option
• The frame should never take away from the piece, unless it is part of the piece
• A fair way to decide wall space when dealing with sharing space, is to calculate the total amount of wall space and divide it evenly
• On the day of instillation all aspects of the piece should be complete and it should be ready to be hung
• At the reception alcoholic as well as nonalcoholic beverages are common, Avoid serving messy foods
• Arrive early & plan to stay until the end, people are coming to see you , be there
• Be friendly to people you don’t know
• Don’t hide, or stay too close to friends if you are shy
• Help other artists, if you see someone looking at another artists work go over and tell them a little about the artist
• Once the show is over check the walls for dents, scrapes, holes, or any other damage
• You will be expected to return the space to the condition in which you received it

Chapter 7,
This chapter was really helpful. The check list was really good. The whole chapter had tips of everything that would every need to do for a solo exhibition, or a group exhibition. From the choosing a date. When doing so thinking of all of the people that are involved in that desiccation. Title of your exhibition seems important. The printing advise seems like a good idea, I'm sure that Brian will have some good ideas for us on that. We had already talked about hanging out art and its all kinda straight forward now that we know about it. The part of the reception seems really straight forward as well. It seems anyone who thought about there reception would think of the right thing to do and if you didn't do what the book did even with out reading the book would not make it. if you are not nice to the people who are there or no one will like and then not buy our art.

Chapter 8 Blog Post

Chapter 8 talks about the importance of making connections with people. By this, they mean that it's important to network with other people. This helps your art get circulated more. The more people you connect with, the more people that can help spread your artwork around. That means more people will see it (if they like it and share it with others). You also have to present yourself well. People don't want to associate with someone that comes off as needy or a hustler either.

The chapter goes more in depth about how to circulate your work around and how to submit art to galleries, and then follow up with them to see what they thought, instead of making an embarrasing trip all the way there just to get shot down.

I thought this page was quite interesting.

Chapter Six

To become a successful artist, one must be ORGANIZED. Computers can be great…or your worst nightmare depending on how you use it. Technology is expensive but worth it. One important thing this chapter talked about was how you need to keep records of everything you do. If you ship out a piece of art, naming a CD, ect. Keeping records of what goes in and what goes out will save you a major headache down the line. You need a list of inventory and also a works on consignment agreement so if someone tries to involve you in a tax evasion you have the documentation to prove what actually happened.
You also need to decide how you are going to price range your work. There are two different ways, the way you want which will usually be too high. Then there is the retail price which if you’re working with a commercial gallery they will take fifty percent of the whole. Your price will determine within these:
· Rarity
· Cost of materials
· Productivity
· Size
· Permanence
You should always start your price range low. The more people will buy; the more you will get your name out there. Then if your work starts to pick up and get more demanding then you may start to raise the price. Another important thing you need to do is make sure you have a up to date mailing list. For taxes as an artist you will need to do a few things of proof:
· Keep a mailing list
· Save your announcements
· Keep copies of all your cover letters
· File copies and returned copies.

I thought this chapter was a little boring if I do say so; Informational, but boring. No one likes to read about mailing lists and tax information. But you need this information to become a “visual artist.”

Chapter 6

Chapter 6
Creating Your Command Post

• Your office is the hub of your professional activities, the center point from which you enter the world as an artist
• It should be well organized and easy to work in
• The easier it is to work in, the less time you will spend there
• The ideal office contains: desk, filing cabinets, computer, printer, telephone, comfortable chair
• A smart option is to have a partner handle the business aspect while you, the artist handles the art
• Another option is to hire someone to oversee your business for you
• You still need to supervise everything your office assistants do
• Make a habit of keeping clear and accurate records of everything that you do
• A computer system can streamline your office
• Keep your filing system simple and direct
• Be able to find what your looking for without a lot of effort
• Standard file-folder titles could include: artists bio artist statement, art consultants, art dealers, consignments, donations, exhibitions, inventory lists, invoices, juried shows, publications, slide masters, slide duplicates, materials out list, plans, goals, and leads
• Keep track of sending out slides for consideration, shipping artwork to and from exhibitions, and consigning works to galleries
• The materials out list can remind you with the minimum amount of f=effort on your part
• In order to have a useful inventory list you must use it faithfully every time a piece of art leaves your studio
• Keep your inventory list on your computer desktop for easy access
• Keep an inventory list with an entire page devoted to the activities of each piece, if they move around a lot
• Use a consignment form every time you ship or hand-deliver art for an exhibition, or to a gallery or art consultant who will be selling or showing the work
• Be sure to fill in all of the blanks on the consignment form
• Make three copies of the consignment form, one for you, one for the consignee, and a third for your files in case the others get lost.
• With a consignment form a problem can be solved before it becomes a problem
• The two ways to price your work: decide the amount you want to be paid then let your various dealers add whatever they want when selling it to their clients, or set a selling price and decide in conjunction with the dealer or client the amount of commission he or she will receive from the sale of the work
• Anticipate what could go wrong and plan for it when shipping
• The safest and most professional way to ship is to hire an art shipping company to do it for you
• One of the most powerful things you can do is to create, maintain, and use an up-too-date mailing list
• You will need to add a schedule C to your tax return, keep clear records, and save receipts and show announcements when it comes to doing taxes
• Don’t make simple organizational mistakes that could cost you a job

Ch. 6

• This book is just filled with really funny quotes that I like when I read but I never remember that is, until now. I think my favorite this chapter would have to be: “I once had an assistant who filed everything under secret code names in honor of her stuffed animals to make the job “more interesting”. I didn’t discover this until I tried to find a gallery file while she was vacation in Mexico. It was not the best day.”
• I have to say that this chapter was really relevant to me because just today (or yester day since I am writing this at 12:48 am) someone asked me if they could buy a print that was in an art show right now. I really had no idea what to do because it was the first time anyone had seriously asked me for some of my art. I am embarrassed to say that I just got flustered and said yea but that I had to ask my art teacher how much to charge because I have no idea what to charge. WOW, did I ever feel dumb! After this chapter I still have no idea what to charge but at least I have an idea of the process. Maybe next time I will not make a fool of myself. (Let’s hope that’s the case.)
• One thing that really dawned on me after reading this chapter is how organized I am going to have to be if I do not want to make a fool of myself, lose money, or worse of all lost some of my art. I guess it never really dawned on me how much work being an artist is outside of the artistic process.
• On a side note I found this and though this might be interesting to someone. Just a friendly reminder to all you artists to remember to look out your window and see the world as a colorful place once and a while.



Watch more cool animation and creative cartoons at Aniboom

This chapter, really made me think. This chapter really gave a lot of good advise, and it was a ligit thing to talk about. I know that starting a office seems like an easy idea. There is a lot that goes into paper work that, at least me , had no idea where to even start. This chapter i will for sure come back to when or if i ever become an artist someday. When I went on the mankto art trip we went to the poor farm gallery/ artist home. He showed us his office and ithad everything that our chapter talked about and he even talked a little about his paper work. I als know a gallery owner and she has everthng that this chaper talked about, but more. It was really cool to put what i had read in to something that I have seen. This chapter was really about getting all of your paper work together and being orgnized is something that is really important. I hope that someday i can do all of what this chapter talked about. Even tho it does not not seem that fun.

Chapter 7

“Imagination is more important than knowledge.”-Albert Einstein. This chapter talked about the actual steps you need to do in order to have or be in an exhibition. Like three months before, ten weeks before, what to do at the reception, ect. “A one person show looks better on a resume, but a group show will attract more people.” These are the kind of situations that we might have to deal with in the near future. You have to start by where you want your work to be shown, how you want it to be shown, what kind of people do you think will be more interested in your work. Deciding when you want to have taken place. How are you going to reach out? See if you can put an add in the paper about where your having your exhibition. Or it talks about the steps you need to do to have it pressed released. The cost? It varies depending on if you do it yourself or have it send off to be printed. Each one has pros and con.

The whole point is to get people to come to see your work! Then there is framing. This is one of the biggest things because you want you art to be displayed tastefully and look the way you want it. The main thing is you never want your frame to take away from the actual art. When it comes to actually hanging the art, you need to have everything already to be hung. When the big night comes come early and leave at the end. Be friendly; try to talk to as many people as possible, after all they did come to see what you worked so hard on.

Chapter 6 Blog Post

• The more organized you make your office the less time you will have to spend there. Leaving more time for making art!

• In an ideal office space there will be a desk, filling cabinets, a computer, a printer, a telephone and a comfy chair. If this in not yet possible for you? Get a filing box to store all your materials and use the computer at a public library.

• Genius begins great works: labor alone finishes them. Joseph Joubert

• Keep clear and accurate records of everything that you do. Such as having copies of every letter and show application you send out, write confirmation letter for each phone call made and notes from all your conversations. Not keeping an efficient paper trail can cause you to lose expensive slides, remember your promises, misplacing art and messing up relationships you worked hard to build.

• You will want to create some basic standardize materials for your career such as stationery and envelope templates, a standard cover letter for sending out slides, your bio, your artist statements (one for each body of work), slide labels and a mailing list. It’s a good idea to make two copies of your materials and keep them in different places.

• Keep your filing system simple and direct.

• Keep track of all you do, suggestions for mailing items use a Materials Out List, for tracking the locations of your artwork use an Inventory List and for consigning your work to galleries use a Consignment Form.

• Be consistent when pricing your work! The art world is very small you do not want to bring into question the value of your work or seeming unprofessional.

• In the beginning pricing your work on the lower end will help to sell it and create a following. But do not go so low as to not be taken seriously.

• Keep an inventory list of the date, gallery, the sales person, the purchaser’s name, and their address and phone number. They are your supporters; you have a right to their information.

• Write an invoice for every sale, give a copy to the client and put another in your file. Design a standard one and include on it the date, name of gallery, title of piece, and description of purchase, retail price, any commission or discount information, the total amount due and received. If it was sold from the galleries inventory, if it was shipped from your studio and method of shipping.

• Always do right. This will gratify some people and astonish the rest. Mark Twain

• When shipping your art prepare for whatever can go wrong. Insure your artwork shipment. If the package is damaged upon arrival advise pictures be taken.

• A very powerful tool is to create a mailing list. Always mailing announcements to those on your list with benefit your career. Include family, friends, coworkers. Doctors, dentist and insurance agents, etc..

• I love deadlines. I like the whooshing sound they make as they fly by. Douglas Adams

• The saints are the sinners who keep on going. Robert Louis Stevenson

• Keeping good clear records will help you at tax time. You will need to add a Schedule C (Profit or Loss from Business or Profession) to your tax returns.

chapter six

This chapter was more a business related chapter, nothing really to do with your art, but still very important, I can see why it was involved.

Creating Your Command Post

What does it need to be.

• organized, easy to work in,

What needs to be there.

• cabinets, computer, printer, telephone, chair, preferably in a different room than your art.
• If you do not want to learn to run a computer then you may go to a local community college.

Make a record of everything you send out be it letters to galleries, or anything else.

Make lists of everything materials out list is a great way for you to know where your stuff is like slides, CD prints bio, and everything else.

Inventory list tells you what are you currently have, where it is, when it left, if it is sold or donated, rental, in a gallery and so on, when it is returned. Backing this information up regularly is essential and having it in more than one place is good too.

Consignment list tells exactly how long it will be out, if it is new, good, perfect, bent corner and so on. This may save you later on if the person you loaned it to refuses to return it or some other problem.

Pricing. It may be difficult for one to think of a way to price but if you go along the lines of what materials you used, how long it took you to make this piece of art, how many copies of it are there.

Shipping. Place in plastic bag, Masonite, tape corners, Masonite on top, tape all sides, inside cardboard, seal sides with packaging tape. Larger pieces need to be shipped in a crate.

Mailing list. First start with everyone you know friends, family but also coworkers, dentist, doctor, insurance agent.

Paying Taxes. Taxes in the art world are one of the most difficult keep receipts to everything, show announcements, and clear records.

Chapter Five

When Things Begin To Happen

Invitation
When one gets invited to a exhibition, there is many thing you have to think about, the date, the location, pieces of art, framing, hanging, shipping, announcements, mailing list, reception, publicity, insurance, commission, and after the show. There is a lot more aspects you have to think about more than i thought really.

Discuss with the Gallery
The nature, type of work, what type of work, if there will be a written contract, gallery responsibilities, what does the gallery want in return.

The Dealer
Depending on where you are at in your career you may want to negotiate with the dealer.

Protection
Follow up letter, consignment

Chapter Five

Chapter 5
Taking the Leap; Building a Career as a Visual Artist


• Once people are interested in your work, you will start with new activities such as
o Forming new relationships with a variety of art professionals
o Learn to deal with contracts and consignment forms
o Make framing decisions
o Ship your art
o Manage deadlines
o Deal with sales
• When in doubt ask
• Don’t be afraid of sounding like a beginner
• Asking questions is the quickest way to learn about the business and about the people you are dealing with as well
• There are specific issues you will want to discuss with the curator
o Date and location of the exhibition
o How many pieces will be included in the exhibition and/or how much space will be available for your work?
o Who is responsible for framing the art?
o Who is responsible for hanging the show?
o If the work needs to be shipped
o Exhibition announcements
o Mailing list
o Will there be a reception?
o Publicity
o Insurance
o Gallery commission
o After the show
• Issues to discuss with a Gallery that wants to handle your work
o The nature of the relationship
o Which work do they want?
o How often can you expect to be given a solo show?
o Is the gallery willing to sign a written contract with you?
o What are the gallery’s responsibilities beyond the exhibition?
o What does the gallery expect of you in return?
• The higher the status of the gallery, the more professional you can expect it to be in its dealings with you
• If you never ask for what you want you will never get it
• Artists usually change galleries several times during their careers; the successful ones negotiate a more favorable arrangement with each move
• Write a follow-up letter after meeting with the gallery or director


The chapter teaches us that we can’t be afraid to ask questions; no question is a dumb one. At some point we are all beginners and we could all use little help and advice.

Chapter 5 blog

I felt this was a useful and enjoyed read. Major highlights are be organized and ask lots of questions. Nothing is too silly, don’t be afraid to appear a novice, better to avoid misunderstandings. Remember it often who you know more than what you know.

· When your work becomes noticed, you will begin participating in a fresh set of activities. Involving new relationships with various art professionals, dealing with deadlines, consignment forms, framing, shipping, and sales.

· To avoid future problems don’t be afraid to ask question. Get the really silly ones out of the way first. You can gage the responses you will receive in how your relationship will be.

· Taking part in an exhibition is not the same as joining a gallery.

· Get the details down for the exhibition such as,

- The opening date and closing date

Location of the exhibition

-How many pieces will be in the exhibition and how much space is available for your work.

-Who will be responsible for the framing? The gallery or you. What framing specifications does the gallery have?

-Who hangs the show? You or the gallery? If the gallery is hanging it, do you get input?

-If shipping is involved who covers that cost you or the gallery?

-Who handles the announcements? Will the gallery pay for your mailing list? Who covers the cost of the reception?

-The publicity

-Insurance

-What will the galleries commission be on sales?

-What are the galleries expectation from you about removing you show?

· Different galleries will probably prefer different pieces of your work to fit the style of their gallery

· Expectations of solo shows is probably about every 2 years

· If the gallery has a standard contract have a lawyer who specializes in business law (look for one through your state’s Lawyers for the Arts organization) read it before you sign it.

· Will the gallery help promote your career beyond the exhibition providing you with addition connections?

· The galleries expectation from you will be to continue creating art, keeping commitments and behaving professionally.

· VARA an amendment to the copyright act establishing a single federal standard regarding the rights of artists.

· Copyright is your legal protection for your art.

· Artists often change galleries several times during their lives.

· After you have come to a mutual agreement of responsibilities and expectations with the gallery putting it in writing as a letter and mail back to them. This will ensure no misunderstandings were made and be proof of your agreement.

· Keep records of all your gallery correspondence, phone conversations and meetings. Record the essence of your conversations and meetings, date them and add to your file.

Blog for Ch.5

While I found that this reading had more questions than answers, I also thought it was very interesting and informative. Once again, when I finished this chapter I was left with many thoughts one that seems to be a common over this book, I really want to work at a gallery or a museum. However, that is not the only thing I left with. I also got answers to some of the questions asked in this chapter.

• Who is responsible for framing the art? Most of the time it is the artist, under certain circumstances the artist may not have to or could get help paying for the framing. I.e. if the artist is famous and demands that the gallery pay of it or the gallery puts it (the art) under glass.

• Who is responsible for hanging the art? Most of the time it is the gallery, a new artist may want more input but it is a good idea to trust the curator they might surprise you. There is however some special occasions where the artist might be called in to help with the install, i.e. a really hard or strange install.

• Who pays for the shipping of the art? In most circumstances the artist pays for the trip to the museum or gallery and the museum or gallery pays for the trip back to the artist.

• Is it ok to ask for what I (the artist) want? YES! Do not be pushy but, if you do not ask for what you want you will never get it.
Well that’s all folks, on a side not some people might find this really cool. After all this reading about galleries it might be fun to see what goes on behind the scenes. Meet the curator! (sorry she is a little hard to understand at times)

This chapter was extremely helpful. I did not know what it all took to have your stuff in a gallery. I have been selling stuff in the gallery in Zumbrota for a while now and have found that after reading this chapter that i am not really getting anything from them. Other than space to sell my work and make money I guess. I found it really interesting about all of the agreements that you and a gallery owner should go through in order to have a healthily business relationship. I kinda felt that the book kind of said with out saying it, its not what you know its who you know. It said that if the gallery that you are working with does not want your drawing bu your paintings that maybe the owner knows someone who would love your drawings. As I was reading this to i thought that this seems like a lot of work to do as and artist. The more and more i read he more and more work seems to be piling up on a artist. I know that its a career that is really hard, but I don't know how between planing solo exhibitions and getting gallery's to show your stuff, how you can still find time to work. Maybe that is just me tho.

chapter 5 reading

I found the chapter five reading to be more useful and enjoyed reading it more then last weeks reading. There are many different things that they talk about in this chapter but I feel they are all equally important. It talks about when you actually get showings, and what you need to do to prepare for them. First you need to find out about the exhibition. You need to know where, when, how many pieces that they want, if it is an individual show or several-person show, if you are responsible for the art framing, if you are responsible for hanging the art, if it needs to be shipped who will pay for the costs, do they have announcements and what are they like. You will want to know what exactly this will look like. If it’s black and white or color, if your art will be on it. You will want to know how large the mailing list is and who is on it, if there will be a reception or not, who will pay for it and what will be served. More things that will need to be known ahead of time are what kind of advertising the gallery will do, will your work be insured, how much the gallery commission is, which work the gallery wants to show of yours, and if they are willing to sign a written contract with you.

Chapter 5 Blog Post

Chapter 5 discusses what to do once your art starts getting circulated around. One major point is to ask a lot of questions, and don't be afraid to look like a beginner when you start getting into galleries because everyone has to start somewhere. Don't ever assume. Find out all the due dates for your artwork, opening and closing dates of the show, the opening reception, and the date for the art return as well. Getting organized is a very important part. Another question to ask is how many pieces to enter if the show is juried. Who is in charge of hanging? Framing? Who is paying for shipping costs? All these questions have to be considered and thought over thoroughly to ensure your success in the art world.

Another good idea would be to come to an agreement with the gallery that is going to be handling your work by writing up an agreement or contract and discuss extensively so there are no misunderstandings. All these tips are essential in a beginning artist's survival.

Chapter Four Blog Post

Chapter Four Blog Post

· First thing to remember all roads lead some where; the second thing is that you never can be certain just where they are going to lead.

· No formula is guaranteed to work. There is no way to do things exactly right or wrong. The only for sure wrong thing is doing nothing. One foot in front of the other and just keep moving in a direction.

· Radio quote, “Although two wrongs don’t make a right, three left turns do.” So keep the goal in mind, and eventually reach it.

1. Destiny is what you are supposed to do in life. Fate is what kicks you in the ass to make you do it. Henry Miller

Strategies:

· Entering Juried Shows, some place to find them are in the back of magazines like Artweek, New Art Examiner and ArtCalendar. Although expensive and sometimes scams, enter a few for the experience, it’s good to know how they work. Choose carefully, check out the judges and locations.

· Find a commercial gallery to represent you. Flood the art world with your packet and hope for a few takers. But be sure it is an appropriate gallery for your work. Make sure your packet is done professionally!

· Network! Gallery owner are going to listen to artist they know, curators, other gallery owners, etc..

Gallery owner’s suggestions:

· Create astounding art

· Create your own energy

· Become in your local/regional art community

· Be professional

· Start locally showing in cafes or other non-art spaces.

· Target a large city, good choices Chicago, Los Angeles, Santa Fe, Seattle and New York. But be sure to do your research.

· I think people who are not artists often feel that artist are inspired. But if you work at your art, you don’t have time to be inspired. Out of the work comes the work. John Cage

· Target a foreign city.

· I prefer the errors of enthusiasm to the indifference of wisdom. Anatole France

· Invent a new way to show your artwork.

· Learn to interpret rejection slips and learn from them.

Chapter Four Reading

I really enjoyed this chapter because it gave me a good idea of how life is going to be like when we first start out in our careers (if we haven’t already). It also strongly pointed out that we can’t be too sure of our methods or others methods. Sometimes things will work for you and sometimes just the opposite. One example Lang used was showing your work in a café or a gallery. The obvious choice would be gallery but for all you know one of the world’s richest collectors or well respected curators could enjoy that café and see your work. One line from the text that I found really interesting was on page 71. It said “Since there is no way to do something exactly right, it follows that there is also no way to do it exactly wrong.” This is even shown in the advice the text gives us. Talking about how great being a home town artist can be but how it can also be the death of your career. Later it says that moving to New York would be bad for a million different reasons, but then adding that it’s an amazing opportunity. This just goes to show that the industry isn’t always nice and can sometimes kick you in the butt no matter how promising it seems at first glance. We have talked about this in class but I also found it very helpful to be reminded that you should ALWAYS research the gallery before sending in your work. Why waste your time sending in a packet of prints when they want them in DVD form? It could save everyone’s time and help you gain their respect.


I found this video and thought it was a very cool way of showing a different form of displaying your art.

Ch.2 - Creating Your Artist's Packet

This chapter mainly stresses the importance of presenting yourself and your work well. The one thing that I realized as I read the chapter is that you must document everything you do. You should know all the work you have completed as well as the dates and exhibitions for the work you have presented previously. I also realized that the best way to write your bio is to start with a blank chart and filling it in with all your information, working backwards in time. The reading also had some good tips for keeping track of your work that you have submitted. The author mentions the importance of having an extra self-addressed stamped envelope inside of the one you send so that the gallery can send you back your work easily. Otherwise, you won’t be sure if they reviewed your work or whether or not they have made any decisions about it. The author also goes over a lot of basics which most photographers and possibly artist know about. One of the things she mentions is the importance of DPI/PPI when printing and also the fast changing electronic equipment. She stresses the importance of purchasing high quality camera equipment and the fact that you will find yourself keeping up with all the changes and improvements. The one recommendation that I don’t think is important is having a professional photograph your work to put on a CD or even on the internet is some instances where it would work best to do so.

Below is a link with ways to approach an art gallery with your work.
How to Approach a Gallery

Chapter Four-Planning A Strategy

Chapter four
Planning a strategy

• Begin developing a strategy after you have a completed body of work
• Just because your art is shown in a less none place doesn’t mean it can’t get noticed, all roads lead somewhere
• There is no way to do something exactly right, or exactly wrong
• The only thing you can do wrong Is nothing at all
• Most artist begin their careers by entering competitions(aka juried show)
• Entering juried shows helps, start planning more active tactics for launching your career as well
• An advantage of entering a juried show, it strengthens your resume
• The standard strategy for finding a gallery is to blanket the art world with your packet
• Pay attention to what the gallery represents, it previous openings, what the space looks like
• Put your material together with care and concern, be organized, make it look professional
• Make sure the slides you supply are viewable by the galleries facilities
• The secret is to choose the recipients of your materials carefully, create beautifully presented promotional packets, and behave in a thoroughly professional manner
• Create your own energy, become involved in your local art community, be professional
• Start locally, begin with the acceptance of your community then move up
• Showing in cafes and other non-art-world spaces is smart
• Move to new York, new York is the hub of the art world
• An effective plan is to target a city with an active arts community
• Try targeting a foreign city, different parts of the world have different practices regarding business and art
• The world is location prejudice, no matter where you live there is always somewhere
• Do your research, send out ten to twenty packets at a time, think of your goal as collecting rejection slips

These are two of the magazines the reading listed to find juried shows in.
http://www.artweek.com/
http://www.artcalendar.com/


There is a lot of excellent strategies to use to get your work out there and known. Even if it’s in an under-scale location it can lead to bigger and better things. You have to make an effort to receive the benefits of success.