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.”
Monday, February 28, 2011
Friday, February 25, 2011
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
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
Thursday, February 24, 2011
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
• 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.
• 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.
Monday, February 21, 2011
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.
Creating Your Command Post
What does it need to be.
- organized, easy to work in,
- 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
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
Friday, February 18, 2011
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.
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.
Thursday, February 17, 2011
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)
• 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.
Wednesday, February 16, 2011
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.
Saturday, February 12, 2011
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.
Friday, February 11, 2011
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.
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.
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.
Ch. 1 - A World of Possibilities
I was surprised to learn about all the different ways that you can pass on your artwork and possibly increase its value. The most interesting thing that I read about was J.S.G. Boggs using his work in place of currency when doing simple things such as going out to get some lunch. He would give someone one of his creations, possibly a fake bill which he created, and use it as an actual form of tender. I just thought it was really funny that he expected to receive and did receive change from a waiter that accepted his work as if it were a $20 bill. The other thing that I found interesting is that you could even present your work or have it presented in a taxicab.
The Thai artist, Navin Rawanchaikul has another really clever idea of presenting work. He creates a gallery in the back of his cab, which gives people time to take in the work being presented and not just pass by it for a brief moment. An up-close interaction also makes it more likely for someone to fall in love with what they are looking at because they can take in everything, the piece of art is representing, in detail.
The chapter also talks about all the different places you could present your work and all the different people that I wasn’t necessarily aware of before. I was a bit thrown off by the fact that you have to spend so much of your own money to start of your career as an artist. It used to be that galleries would cover most of your expenses, but it has become more of a 50/50 take when it comes to making a name for yourself. This is largely due to the decline in the amount art collectors are willing to pay for art after the economic collapse in the 90’s.
Below is a link to wikiHow on
How to Get Your Art Into a Gallery
Ch. 4 Blog Post
Chapter Four is all about setting up a strategy. It kind of seems like the readings are repeating themselves a little bit. It continues to talk about how to get into the art world. One such way is to enter contests and competitions with your artwork. These competitions are called juried shows. These can be costly, however, as there is entrance fees, framing, and shipping costs to worry about. If you do decide to enter one of the shows, you should see who is judging them because if they are people you respect, or curators, then the show is a great way to bring your art to their attention.
This chapter pretty much says that wherever you can get your art shown, you should do it. Even if it's in a tiny coffee shop. Throw a bunch of submissions out to many different galleries (do your research on them first) and see what sticks.
Thursday, February 10, 2011
Ch. 4
Three things came to my mind when I read this chapter for class. One, I really want to start banging my head against something because, becoming a well known artist is so hard and it really has a lot of “rules”. Two, wow people must really work hard and really want to be well known. Three, the more I read this book the more I think I would be better at being in the gallery not the studio. Truth be told, I get that the author needed to fill a whole book with info that he thought would help us and yes a lot of it is good info that probably will help some reader but sometimes when I read this I think “there is no way in heck that I am going through all that trouble and work just to get turned down.” I really like some of what this guy is saying but some of it just feels like this guy is just trying to make the reader feel really really intimidated.
I know I have said this before but REALLY, the more I read this book the more I think I want to work at a gallery or a museum (more likely the museum) because let’s face it, it just seems more like something I would enjoy and that’s why people make art, they enjoy making art and are willing to go out there and do all the things the book talks about. I think that I would much rather be the person who gets to jet around the world looking for the perfect piece of art of someone, the person who gets to make some ones career by putting them in a big New York galley. That just sounds more me, because when I read this book the parts I find more interesting are when he talks about what the galleries do not the artists.
On a side note, I found this website: http://www.twincitiesfinearts.org/ and it look really cool.
I know I have said this before but REALLY, the more I read this book the more I think I want to work at a gallery or a museum (more likely the museum) because let’s face it, it just seems more like something I would enjoy and that’s why people make art, they enjoy making art and are willing to go out there and do all the things the book talks about. I think that I would much rather be the person who gets to jet around the world looking for the perfect piece of art of someone, the person who gets to make some ones career by putting them in a big New York galley. That just sounds more me, because when I read this book the parts I find more interesting are when he talks about what the galleries do not the artists.
On a side note, I found this website: http://www.twincitiesfinearts.org/ and it look really cool.
Chapter Four
I really feel like this chapter is repeating itself on how to get out in the art world and how to be creative with finding your footing in the art world. It does advise to be very careful about entering juried art shows however, because they can often be scams. They charge an entrance fee to all the artists who submit work and then only select a few artists to show. He suggests showing your work in local spaces, and cafes and other non-art spaces; which we've already mentioned and talked about in class. He advises that moving to New York could be worth it, but you have to realize that many people are there to become artists, and the cost of living there is steep.
The rest of the chapter talks about how to target getting your work out there, from doing research or sending out packets. I once again feel like this is very repetitive, I almost felt like the chapter wasnt worth reading.
The rest of the chapter talks about how to target getting your work out there, from doing research or sending out packets. I once again feel like this is very repetitive, I almost felt like the chapter wasnt worth reading.
Chapter 4 reading
There were quite a few things that they talked about in chapter four that is helpful. So far this has been my least favorite reading. I’m not entirely sure why, I just did not enjoy it very much. Yes it does give a nice outline about things you can/need to do to better/start your career, but it is so different for everyone and can’t be expected to work out the same. You need to get your work out into to the world so people can see it. You cant just expect to become famous overnight with no work at trying to get people to notice your work. Try to get your work into as many different shows as possible. Find a gallery to represent your work. This is very beneficial but is also very difficult. There are many more artists then there are galleries. You have to make sure to have an excellent packet. If you don’t have things together in your packet they are not going to look at it. Start Locally. You need to build acceptance, and the easiest/best way to do that is to first get acceptance from you home/local towns. It can also be a difficult thing because the art that you make won’t necessarily be appealing to them. Over time you will have to try different things/ approaches to get your art out into the world. Some will work some wont. You have to begin somewhere and just keep trying.
Monday, February 7, 2011
chapter four
When getting a rejection letter there really is 3 different types, and I would of thought of them all in the same category, so it was good to see them broken down so that I would be able to know how to handle them if I were to receive them, like the big rejection-they just plain don’t like your work, the so so rejection- they like it but don’t think you are quite there yet, the we just don’t have space rejection-so you should send them more work later and keep communication lines open.
Moving… this part had me a little confused but then I got where it was going, be close to the action. If you want to show in a higher end city, just go there. Sometimes they don’t see you as credible if you are from out of town. But if you show in Europe they like out of town people it seems more exotic to them and they have a better communication like with unknown artists then places like New York and L.A.
Sending your work to jurors? Would seem like a good idea, but if they are not credible they could end up just taking ones work and selling it as their own. So research is a big thing, really it’s a big thing in anything that you are sending in, say to galleries, jurors, or anything else. And starting in a café might not be such a bad idea.
Moving… this part had me a little confused but then I got where it was going, be close to the action. If you want to show in a higher end city, just go there. Sometimes they don’t see you as credible if you are from out of town. But if you show in Europe they like out of town people it seems more exotic to them and they have a better communication like with unknown artists then places like New York and L.A.
Sending your work to jurors? Would seem like a good idea, but if they are not credible they could end up just taking ones work and selling it as their own. So research is a big thing, really it’s a big thing in anything that you are sending in, say to galleries, jurors, or anything else. And starting in a café might not be such a bad idea.
chapter three
Setting goals that are manageable. And there is many ways one can do this, his ideas helped a lot with just do one little thing and sooner or later you will start to do it, like painting if you just set aside some time each week or day to just sit in front of a canvas you will start painting, or running if you just put your workout clothes on sooner or later you will go for a run. I think this applies to me to that if I just like carry my camera with me I will start taking more photos. And that will in turn help me become a better photographer.
Making art first, and then trying to sell it. If you start making art that you don’t love and sell it, yes you will have money but you won’t love making it. And making are that you love may be able to make money from it.
Making art first, and then trying to sell it. If you start making art that you don’t love and sell it, yes you will have money but you won’t love making it. And making are that you love may be able to make money from it.
chapter one
What is new today, is old next week. This comment stuck with me through this chapter, like anything in the art world it is true. And I think that this poses a great deal of confusion and stress to an artist. Confusion because do we try to make something that is “in” right now or hope that what we are doing will be the next best thing. And stress for pretty much the same reason, not knowing when what we are creating will have any value in the art world.
Also there are many different spaces to exhibit; world class museums, high profile galleries in New York, national museums, high profile galleries-not in New York, high profile alternative spaces, medium to small museums, commercial galleries, university galleries, low profile galleries, restaurants, hotels, retail stores, cafes, beauty parlors, your home. These range from very high end to medium to very low end, but they are all a way to show your art, and sometimes work your way up the ladder to get high recognition.
Also there are many different spaces to exhibit; world class museums, high profile galleries in New York, national museums, high profile galleries-not in New York, high profile alternative spaces, medium to small museums, commercial galleries, university galleries, low profile galleries, restaurants, hotels, retail stores, cafes, beauty parlors, your home. These range from very high end to medium to very low end, but they are all a way to show your art, and sometimes work your way up the ladder to get high recognition.
Chapter Four-Planning a Strategy
The first thing about this chapter that caught my eye was how it was saying that "every road leads to somewhere, the second is that you can never be certain just where they are going to lead."
The first thing you need to do is actually make the effort to do something with your life. If you sit around and do nothing, success won't just fall into your lap. " I think people who are not artists often feel that artists 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. To find success in America first you have to find galleries and exhibitions in your local area. The more you get your work out there, it will grow, more people will see it and you better chance you have to be successful. If you want to start expanding your range you have to do some research. If you want to send your work to a gallery, make sure they can be able to handle your work. It is just a waste of time a money to send your work to a place that doesn't even show what you are interested in. The best quote in chapter four, "I prefer the errors of enthusiasm to the indifference of wisdom."-Anatole France.
The first thing you need to do is actually make the effort to do something with your life. If you sit around and do nothing, success won't just fall into your lap. " I think people who are not artists often feel that artists 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. To find success in America first you have to find galleries and exhibitions in your local area. The more you get your work out there, it will grow, more people will see it and you better chance you have to be successful. If you want to start expanding your range you have to do some research. If you want to send your work to a gallery, make sure they can be able to handle your work. It is just a waste of time a money to send your work to a place that doesn't even show what you are interested in. The best quote in chapter four, "I prefer the errors of enthusiasm to the indifference of wisdom."-Anatole France.
Chapter 3
This chapter was one of my favorites so far. It was all about having goals, and you set them. Also some awesome quotes were in this chapter as well. "Better to write for yourself and have no public, than to write for the public and have no self."-Cyril Connolly. "A life spent making mistakes is not only more honorable, but more useful than a life spent doing nothing."-George Bernard Shaw. "I don't know the key to success, but the key to failure is trying to please everybody."-Bill Cosby.
The only way to stick to goals is to make them realistic. If you make tiny goals, it is easier to accomplish them and in the end you will feel better because it is a goal to accomplished. Making tiny goals towards the big goal in life is the only way you can make it work. If you just set the big goal and no little goals to go along with it, you are more than likely not going to accomplish your goal. Another part in the chapter that I liked was when he was talking about how a cocktail party, how if you say something that somebody else already said, you will be ignored. Just like with art. If you make art just like someone else....you won't get noticed either.
The only way to stick to goals is to make them realistic. If you make tiny goals, it is easier to accomplish them and in the end you will feel better because it is a goal to accomplished. Making tiny goals towards the big goal in life is the only way you can make it work. If you just set the big goal and no little goals to go along with it, you are more than likely not going to accomplish your goal. Another part in the chapter that I liked was when he was talking about how a cocktail party, how if you say something that somebody else already said, you will be ignored. Just like with art. If you make art just like someone else....you won't get noticed either.
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