Chapter 1

I think this chapter did a great job of explaining the art world to you. Often times people believe you can pick up a pencil and become great at drawing, or pick up a paint brush and become a great painter. While you may have the skill, becoming a well known artist takes more then having fantastic art. You have to get yourself out in the art world, and to do that you have to have a better understanding of how the art world works. Like the text says, the art world is an ever changing thing, something new and exciting this week could be considered not so great the next. Theres a few things to consider when your looking at jumping in the art world, an understanding of what different galleries and musuems do, who is all involved and the work are some key things.

Galleries and Musuems are different depending on where you are in the world, and who owns them. For example. Musuems see themselves as preserving the history in the art world, they often have a permant collection of work that stays in the musuem. The pieces in this collection are circulated and showed at different times. Non-profit musuems are often times smaller, lack a permanant collection and are supported by memberships or grants. They often focus on local artists. Commerical galleries focus on the wealthy, and selling as much art as possible. While you may have a show at a commerical gallery, their focus is to sell, often times to collectors.

Another aspect of the art world is who it includes. There a many different people that play a role in the art world and the success of showcasing and selling art, but a few main ones are the artist (of course), the art dealer, and the art collector. Without these few key people the art world would crash. Of course you need an artist to make the art, but you need someone interested in the art. While the art dealer is less of a key link to the art world, it does make it much easier to get your work sold.

This chapter really shows you the reality of what it takes to be an artist, and it is a bit scary to think about all that goes into it, but in the long run, its well worth it to get your work seen, whether you become famous and well known, or your work is just seen by people.

I think that the concesensis is that this chapter is wordy. Everyone has said it. I think that this chapter is ment to scare artist, in the fact that its not easy to become an artist. When you are in school the professors are nice when they critict your work. When some one off the street, or a ceramics monthly editor will be a little more harsh. I think that is would be something that is hard to adjust to. That was the only thing that i could get out of it. It did make me think of Linda Christinson and Jeff Ostreicht when they talked about becoming an artist and it was hard then and that was a long time ago and its just harder now. CRAZY!

Reading #2, Chapter 1

First of all I will start with the introduction. I really liked how honest the author was by telling us their experiences as an artist and they really do give good advice. I like how the author is honest by telling us in the beginning to stop wasting our time trying to be and artist unless it really is what you want to do. He says "ask yourself this am I thinking of art or am I thinking about the Super Bowl, world peace or maybe the laundry? If you find you are rarely thinking of art than it probably wasnt your idea in the first place". This helps me know that art really is what i want to do. i say that because I do think about art all the time. And just like the author when I'm not making art I feel like I am wasting my time or I should be making art rather than what I am doing. I also like that he added just because you can do something such as hop on one foot doesn't mean you should.
The first chapter brings on even more good insights on what it is like to be an artist. It helped me realize that just because art is the way it is now doesn't mean it will be like this forever. I wish more people did appreciate art, and maybe like a rollercoaster itwill bounce back. I also realized more that i Really dont care about the money or success. I want to make art for the sake of making art. The author also helps us as readers realize how hard it is to be an artist and how much work it is to be successful at it.

Chapter One

Reading #2
Chapter 1

• Art is always changing, as well as the attention span for it
• A career in this field will have much unexpectedness, and ups & downs
• The gallery system has become the main way art reaches the public
• Acceptance by a gallery brings the art to the attention of critics and collectors and coveys worth
• Established exhibition spaces fall into seven categories: museums, nonprofit galleries, alternative spaces, commercial galleries, university galleries, artist co-ops, and online galleries.
• Eighth category- nontraditional venues
• People involved include the artist, the curator, the art dealer, the art consultant, the agent, the art collector, and the critic
• You must take your career into your own hands, galleries wont just come to you

Chapter one was definitely interesting. The title itself “The World of Possibilities” really gets the concept in a nutshell. We have the ability to do just about anything if we are dedicated and persistent.

I thought the artist Navin Rawanchaikul from Bankok was pretty interesting. What he does is drive a seemingly normal taxicab that actually has a gallery in the backseat. Eventually due to the increase in interest of the moving gallery Navin created a schedule of expected daily stops. He changes the shows monthly with a diverse group of different artists.

http://www.navinproduction.com/gallery.php?project_id=170

Chapter One

When I read this chapter two things really stuck with me. One, people are defiantly right this chapter is much too wordy for my tastes. Finally two, I really should think about switching to the gallery business (maybe become an art historian) and not an art maker because, we the art makers really get the short end of the stick.
If this chapter did one thing for me I would have to say it was that it made me think. I honestly think that saying that the artist really get the short end of the stick is an huge understatement, I mean really 60/40 in favor of the gallery is not my image of a good deal. I know that the gallery has to make a profit but really I think the galleries should go easy on us artist.
I remember taking art history and talking a little about the art market (specify the “modern art”) before the 90’s economy went crash boom. When I read this chapter it reminded me of that day and it made me think about what it would have been like to be a famous artist back then. I know one thing for sure they certainly where not the “starving artist”. I even took the time to Google one guy I really remembered because he made a skull out of real diamonds, if that’s not over spending on art I do not know what is.
So in conclusion, I have to admit that this chapter did make me think and it reminded me that I really do not want to be a “starving artist”.
On a side note, if anyone is interested in the artist I was talking about, the guy who made the diamond skull, his name is Damien Hirst. You can find more info on him at his web site at http://en.wikipedia.org/wiki/Damien_Hirst I tried his web site but it was down when I wrote this.

Chapter one

This chapter was kinda wordy if you ask me but, yes it did have some good information. It talks about how the world is a gallery to an artist. You don't always have to be in a professional gallery to be an artist or to sell your work, change it up a bit and be original. This chapter also talks about everyone involved in the gallery and involved with picking the work out and coming up with the themes for the shows. It also kinda explains all the work put into getting an exhibition ready for showing. Another thing this chapter talks about is, the fact that not everyone is going to like your work that sees it and maybe the people at the gallery at the moment might like someone else s work more than yours. That does not mean that your work is bad by any means, at certain times your work might be more liked than others and they might like some body else s more than yours, just depends on who is at the exhibition at the time.

Chapter 1 Reading - Second Blog Post

I thought this chapter was also pretty wordy but it had some good information in it. The author explained that the art world is constantly changing. New ideas keep popping up, old rules get thrown out and replaced with new ones. New standards are always coming up. There will never be a sure standard for what art can be, because it's always changing many times a day even. This chapter also discusses different exhibition spaces and all the people involved in an exhibition and art in general.

The author also states that the world is your gallery and that you shouldn't be limited to a fancy gallery. They also basically say not to be discouraged if someone doesn't like your work. Not every single person that sees your work will like it. Everyone is different.

I thought this quote was really interesting: “Art may be eternal, but the attention span of the art world is roughly the blink of an eye.” That is so true, the face of art is changing constantly.

Chapter One...

This chapter was a pretty long one again, but very helpful. The art world is a tough place. Trying

to keep up with what's in and what's not is hard. You have to learn that not everyone is going to

like your work. Someone could hate it, but another may give you a lot of money because they love

it. If you get turned down by one critic don't give up, keep trying. Although this chapter mentions

that not every artist will become what they would like to become.

Chapter One~Second Assignment

This was another long, but informational chapter. In a nut shell this chapter was about how there are tons of artist out there, but only a few get where they want to be successfully. How could I do that? Well the book gives certain steps for along the way. It’s a cruel world out there. Not everyone can like your work. You will be turned down several times before you get anywhere. The Art world changes in the blink of an eye. How can one artist keep up with that? The chapter gives a diagram called, “Art World Ladder of Success.” It broke down the steps. For Exhibition spaces, the chapter reviewed the different types of places that you could be able to show your artwork. I read one quote in here that made me think. “The universe is full of magical things patiently waiting for our wits to grow sharper.”-Eden Phillpotts. I just liked the quote simply because people are capable of many things, but as this country sets more laws and religion is such a big deal….people lose their identity and uniqueness to put their creative minds at work because there are so many boundaries. Another thing the chapter talked about was about art critics. Basically it’s just a person’s opinion, and another critic could say the exact opposite. Everyone is a critic in my opinion, it’s just reading them and giving them what they want….so they say what you want them to say.

Chapter 2

Chapter 2- Creating Your Artist’s Packet

· Cover letters should be short & to the point

· As an artist give equal effort to both your artists packet & your art

· List the most important information first

· Its ok to change the focus depending on the job being applied for

· Its ok to be unusual, this can help you stand out, if in proper context

· Your career should look vigorous and professional

· Pay attention to the parts of your life that add appeal

· Create a body of work, not just images

· Give your work a title

· Your artists statement tells what you think is important, and sets a tone

· Artists statement should be short, 1-2 pages

· Write more then you intend to keep, they remove unneeded information

· Avoid turning the statement into a list of things you like

· Try to grab attention, list interesting experiences

· Have another artist read your finished artists statement

· It can help you clarify your ideas, and excel as an artist

· The quality of your images is important, don’t skimp

· The packet should be put together with the cover letter on top, your artist’s bio, your statement & optional reviews, a sheet of slides, then the SASE & cardboard stiffener.

We now know that obviously presentation is a huge part of being an artist. There are many little things you can do to make your Artist’s statement and resume a lot more appealing and a lot more likely to get you somewhere. I like the fact that these kinds of details really do affect the outcome.

Reading # 1_Chapter Two

Chapter two of ‘Taking The LEAP Building a Career as a Visual Artist’ by Cay Lang was relatively long, yet a very interesting read, loaded with excellent advice and technical information. The author goes into detailed explanations on how to creating every aspect of an artist packet. The packet being the artist’s resource of presenting themselves and their work to galleries. The importance is explained of representing oneself in a professional manner with concise information and work displayed in a manner that is easy to access and aesthetically pleasing to those receiving and viewing it. It is pointed out that it is necessary to stand out from the hundreds of other submissions received by galleries.

The Artist Packet Contents

· CD, sheet of photographs or slides of the artist work

· List of past exhibitions/artist bio

· Written statement about work

· Cover letter

· Reprints or reviews or articles about the art

· Exhibition announcements with color images of you art

· SASE self-addressed stamped envelope

Chapter 2 Reading - Clancy

Chapter two of ‘Taking The LEAP Building a Career as a Visual Artist’ by Cay Lang was relatively long, yet a very interesting read, loaded with excellent advice and technical information. The author goes into detailed explanations on how to creating every aspect of an artist packet. The packet being the artist’s resource of presenting themselves and their work to galleries. The importance is explained of representing oneself in a professional manner with concise information and work displayed in a manner that is easy to access and aesthetically pleasing to those receiving and viewing it. It is pointed out that it is necessary to stand out from the hundreds of other submissions.


CD, sheet of photographs or slides of the artist work
List of past exhibitions/artist bio
Written statement about work
Cover letter
Reprints or reviews or articles about the art
Exhibition announcements with color images of you art
SASE self-addressed stamped envelope

Posted for Clancy

Chapter 2

In the chapter "Creating your artists packet", I found that it gave a lot of helpful guides when it comes to putting together an artist's packet. The author did repeat himself often, but I found his experience and knowledge on the subject matter impressive. In an artist's packet, it's recommended you include a CD of your work, a cover letter, an artist's bio, a statement about your work, reviews from previous gallerys, a SASE, and a piece of cardboard to protect your work in the mail. It's important to always present your work and self professionally, otherwise galleries often throw your artist's packet aside.

Your CD should include your best work possible, with enough images it takes to look through in a few minutes (10-20). It's important not to overwhelm the person with images but to give them an idea fo your work and style. The cover letter is a general greeting and should be short and simple; not more then a few sentences long.

An artist's bio is basically your chance to brag about all the wonderful experiences you've had, whether it be a group exhibition or studying under a world know artist. The gallery will take you more serious if they know your investing time into your art and improving it every chance you get. For an artist's statement, the recommended length is one page, explaining your thought process and inspiration for the art. The author recommends leaving "we" out of an artist's statement because that's automatically including the viewer in the thought. You could also include reviews of your work from previous shows (if you have any) this gives the gallery a chance to see how your work was viewed in the public, a positive review can go a long way. The last important part to include in an artist's packet is a SASE, a self addressed enveloped with enough postage to return your artist's packet. The author suggested always writing the return address for the gallery your sending your artwork to, because they often don't address it. This way you know who's sent back your work and who to follow up on. If you don't include enough postage with your SASE, you may never get your artist's packet back.

Overall this chapter gave me a lot of insight into how much work you should put in an artists packet. You want to always appear professional, even if your medium is creative. If you're not professional about your artwork, galleries will never take you serious.

First Reading: Chapter 2

I think the information in this chapter, especially about how to create your artist packet is very helpful for any artist. Every section really expressed the point of being neat, professional, and to show how your art differs from anything else. Each section was very specific and easy to understand, and the examples for all the different things were also very helpful. Even though it was nice to go over a little about the camera and the computer I think the artist packet was the part I enjoyed most and got the most out of. It’s always comforting to hear about how these things are stuff that every artist has gone through and maybe not always been the most successful at. Something I read about that I had never even thought of was the SASE. The idea is sort of obvious after reading it but simply not something I would have thought to include. Including a self addressed envelope that is already stamped to insure you receive your work back is a very good idea. And like many of their other suggestions show the studio that you are not only professional about your work but you are also serious about the art that they are taking their time to view. Another thing that I enjoyed about the reading was the small and random quotes that were included on every page. “Experience is not what happens to you; it is what you do with what happens to you.”-Aldous Huxley! This quote was probably my favorite and I even highlighted it :)

Here is a link to a site about Cay Lang the author of our textbook. It shows a little of her work and there are statements that go along with them.

Chapter 2 was about putting together your artist packet that you would send to gallieries or so places that would or could show your work. The first thing that the chapte talked about was the cover letter and how that it should be short and to the point. The next thing was the artist bio. This can be done in a few ways. Either way is ok and both bet the message accross. If you have not been in any galleries or showing's you could also put who you have studied under in this partof the packt as well. The next page in the packet would be you artist statement. This seems like the hardest part of the packet, because you are putting everything that you belive in into a one pag piece of paper that has taken years to devolope. Next page would be a list of exibhiations that you have done in the past as well as reviews of your. The nextpart of your packet is the visual aspect. There are a few ways to go about this as well. You can put slides of your work in to the packet. Anohter idea would yo use a CD or a DVD. The choice depends one how new the gallery or how new age the director is that owns that gallery is. At the end of the chapter it talks a lot about how to take a good pgotograph. I agree with everything that it said. I had taken photographs of my work a semister ago and there are so many variables that can change a lot on how your art is look and presived. I got out of this chapter that when you are creating a artist packet you are tryng to put you into an envolpe and sending you to 100 places at once. The artist packet should be a refelction of you as a artist as well as a human being.

Chapter Two

In all honesty, I really did read chapter two however for some reason the thing that stuck with me the most was one little quote: “The art world may appear vast on the outside, but it is really a tiny little town. You will find that everyone knows everyone else and they do talk.”It just made me laugh and best of all it really was true. It was in the context of putting fake info on you artist bio but, that’s not what I want to talk about, I want to talk about how small the artist world is in the small city of Rochester Minnesota. I haven’t been in the artist world for that long of a time; I just started to scratch the surface when I went to my first photo class in college however, as more and more time goes by I find myself knowing more and more people in the art world. The thing that really amazes me is that I can go to an art show opening and recognize people, granted not that many people but come on I only just recently really jumped into the artist world. I can go to my classes and recognize almost every single person in the class. Something about this community just makes me happy and for the first time I really feel as though I belong, that I am not the one on the outside looking in that I get to belong in a place that make me happy.

On a side note: Alec Soth is one of my favorite photographers and I thought someone might find the below video interesting, it’s about him and his exhibition at the Walker Art Center.

Chapter 2 reading

This chapter basically talks about how to put your Artist packet together. It goes into depth about what it includes, you bio, artist statement, your cover letter, and your SASE. It's basically telling you step by step what to do, how to get it ready and what to include so that it turns out perfectly so that you don't get it sent back because they don't like it and so that you are not wasting their time. It also gives you some other helpful tips on the side to make it better than whats needed. It also gives you tips on the way, and tells you what not to do, along with giving examples of your bio, cover letter, artist statement and other things that you might what to include to make it look better. In the end of this chapter it talks about what good photographs should contain and how to get them. It talks about your camera and what settings you should have it at what you should use in the studio, what you should have with you camera to help you, and what type of bulbs you should be using with your lights and how to use everything. This chapter was very helpful in making sure that you know how to put your packet together and what you should include in it, along with how to get and make good photos and what they should include so that you can put them in you packet to insure that they will like it and not just return it.

Chapter 2 Reading

Basically this chapter was very helpful in creating and sending an Artist’s Packet to galleries. It goes more in depth on how to create a cover letter, bio, and artist’s statement. It also explains how you should present all your information and send it in to a gallery. When sending in your artwork, it’s imperative that you do research about what the gallery is displaying first before submitting your work. Knowing what they are showing will further help you in being accepted. That way you are not wasting your time or the time of the people who have to look through your work and send it back if need be. Organization is key. If all your information and samples are sloppy and disorganized, they will not give you consideration for their gallery. Doing this also makes you stand out from the other applicants. You'll have a better chance at being chosen if all of your submission is orderly and neat. Also remember not to forget about a Self Addressed, Stamped envelope so they can send your work back if need be. Also be sure to send in very good quality work. You want to show them your best work, not some sub-par stuff or they also won’t accept it. If you take pride in your work others will see you’re committed. The article also talks about how to photograph artwork.

Overall the reading was pretty wordy and lengthy but had some very useful information.

Here’s a useful link I found about how to photograph artwork properly.

How To Photograph Art

Chapter two reading.

• When you send it work, be professional about it.

• Know what the gallery you're sending your stuff to shows.

• Cover letter should be short and to the point.

• In your bio, put the most important info first.

• Getting your art out there is a process you need to be willing to put the time, the effort and even the money into it.

• Find out what is unique and interesting about you..if you need to, make a list.

• Find a body of work. ex. If you take pictures of road signs when you see interesting ones.

• An artist statement is to make the viewer want to know more about your work

• Always keep information specific.

• Give your statement to another artist to read after you are finished writing it.

• Use stationary to write down everything included in the package.

• SASE- Self addressed stamped envelope..send one in every packet you send.

• Make sure and send visual images.

Basically when sending in art work send it perfectly so you're not wasting the time of others. If you want your work out there for people to see you have to prepare and do things better than the other. This chapter was very long, but had great info to go back and look at when I'm ready to send stuff into a gallery.

Chapter Two Reading

This was a long, but very informational chapter.

• When sending something to a gallery, make sure everything looks perfect.
• With a Bio, make it short, sweet, and to the point.
• There are hundreds of artist that want to get their name out there too. Do something that will make you stand out.
• Keep a visual diary in the studio with you. That way if you have any thought in your brain that's a good idea...you can write it down.
• Whenever you send someone your work, make sure you include a SASE. That way the gallery can respond. They don't want to pay for a response....they get packages everyday!
• CD's is one way to send in your work that you've been working so hard on. But don't send in a CD that you wrote on. It doesn't look nice. You can make a label for it and it will look more professional.
• If you do send in a CD, make sure your Bio, reviews of your work, statement, and where you can be contacted along with your work.
• The Artist's Packet checklist was very helpful because it broke everything down to what you need. This was a very long chapter but it did have some stuff that was good to know if I ever want to try to get my name out there. The more you know the better you can be.

chapter two reading

Chapter Two Reading Response

There was a lot of helpful information in this chapter. It broke things down well and made things easier to understand. There are so many things to put into the artist portfolio and he did a good job covering each thing that is needed. I liked how he put examples of certain things for us to look at. I understand better when I am able to look at an actual example, as opposed to someone just telling you what you need to have.

I like how he gave me a better idea on what to expect. It is very time consuming and will need to be updated frequently in some cases. It can become pricy, but will be worth it in the end. You also need to do a lot of your own research about the galleries, what kind of art that they are showing, and how they would like you to present your own art work for them to look at samples. For example, CDS vs Prints

What I did not care for much out of the reading was when he was breaking down the difference between a film camera and a digital camera. While it can be useful, we should already know the differences and someone that does not, would probably not be investing in this book.

http://www.youtube.com/watch?v=f8YoHkw2Dw8