Rankings are updated every 15 minutes
(highly liked stories do eventually fall down the list as they get age)
 | Where is the list of members(via canvoo.com)I found the list of artists in here but I lost it. | Go to Discussion >> (0 comments) |
1 point by Jaef 2 days ago in Art Marketing
| Computer Printer(via canvoo.com)I am a painter and I need to look for a new computer printer. My Epson Artistan 710 has been ok, but not stellar. What do you recommend? | Go to Discussion >> (0 comments) |
1 point by mydcddesign 10 days ago in Art Technical Questions
| Art Challenge(via canvoo.com)Art is Art but not every piece of art is fine. It does not matter what medium the artist uses to create their piece, "iCreate" requires gift, passion and good skill or the ability to turn a piece to a masterpiece of work. Underestimate a digital artist can be a big mistake! | Go to Discussion >> (0 comments) |
1 point by Hans 4 months ago in Other
| FASO is on facebook isn't it. I can't seem to find it. What about Bold brush? I did find Bold brush on Pinterest, but not on facebook. | Go to Discussion >> (0 comments) |
1 point by artbylindasmith 5 months ago in Art Marketing
| Fine Art America Experience(via canvoo.com)Of all the people to be asking this question, it's me - the artist who adamantly trashes the concept of reproductions of paintings. So assuming it's okay to ask questions of other artists at this forum, here we go: I have kept an account at Fine Art America, even though I am a dedicated FASO artist. I once had a patron find me at FAA, to the tune of seven paintings, so as I said, I maintained the account. I added a couple of new images recently, and just like normal, I listed them as originals only and put my FASO web address in the comment box for folks to find me. Tonight, for some reason, I decided to double check the account, and the recently added images. Shock. One of the images had suddenly grown numbers in the print price boxes. And those of you who have ever added an image to a FAA page know that is not one simple click. There is a column of multiple boxes to fill in with prices, and they were all filled. One box, maybe I'd consider I'd made a mistake. Ten boxes, no way. I am not that mistake prone. Has anyone else ever had this happen? Do I need to caution you? I just got done deleting my entire account from Fine Art America, so end of story. But I wish I'd known then what I know now... KCooper karencooperpaintings.com | Go to Discussion >> (0 comments) |
1 point by cooper 5 months ago in Art Resource Recommendation
| Finding a Way To Give(via canvoo.com)I love love stories. I love stories with a happy ending, when each one of us discovers our beauty, our relevance, our divinity, our value. When the story begins, there’s an innocent child, born in pain. This child is me; it’s you; it’s every one. The plot thickens, as the child encounters life. The child learns about pain and all its many manifestations - the pain of feeling less than others. Putting on a cloak that says I am damaged or less capable than others, came to me from many different experiences – through family, school, the career guidance, that told me to go and be an air stewardess because I was tall; be a secretary - a great way to find a husband who would look after me because I was incapable of independent living, because after all women were the weaker sex – slightly woolly or soft in the head?? I was the dumb one in my family, as my two older siblings are very intelligent, so I had so much to prove, but the person who believed I was the most flawed, was I. When a charity comes and asks me to give them a painting, then, because I felt flawed, I want other people to like me, I always felt like I should say yes, because then they would like me – right? Wrong!! I gave once, and learned my lesson. I’m trying to get smarter, so I said to myself, enough is enough and I have to learn to decide what I want if I’m going to participate. So I started practicing saying what I wanted when requests came. It was usually someone I knew who I hadn’t heard from for a long time that called me and asked me to give. The phone calls or emails always seemed hurried, like an egg timer was on. I used to do fundraising, and I was taught that if you ask someone for something, you have to be clear with the person who’s being asked to give about what’s in it for them, and that people give to people. I can’t understand why I never heard the part of the story about what was in it for me, except this vague word “exposure”. When I said that I wanted to explain to people why I do what I do, and what the purpose of my paintings is in their lives, I was met with blank stares, blank faces, and, what felt like blank glares and a very frank no, so I said sorry, I just can’t help. Those imaginary glares, took me back to the space in my head that said I was flawed. I know it’s illogical and irrational for me to feel this way, but feelings are there as part of the story. So then the games inside my head would really begin. I kept on telling myself over and over that it’s Ok for me to stick up for me; it’s Ok for me to value what I do – because if I don’t - why should anyone else? It’s sad that I felt so much discomfort about saying no. But in writing this, I finally realized why I had to say no, and that’s because I feel sick at the thought of someone buying one of my paintings without really liking or loving it either for a pittance; or because the person wants to help out the charity but doesn’t really like the painting; or, makes a choice after too many drinks; or buys in a bidding contest and wakes up the next day with buyer’s remorse. I only want to sell my paintings to people who love them and the story behind them. So no, I don’t want to donate my paintings to charities for fundraising events without being able to explain to potential bidders why I do what I do, and what my hopes and dreams are or for you, for me, for everyone. The other part of this story is that for me, my paintings are priceless, because I never ever thought I could paint. I was kicked out of art classes at school at the age of 10. I told everyone who’d listen to me for over 40 years that I didn’t have an artistic bone in my body. So when that same school came along and asked me if I would donate a painting for their 350-year celebrations, I thought I would have another practice at asking for what I wanted, and to my surprise, they said yes. Then the turmoil began. I wanted to run and I wanted to fight. You see I hated the culture when I was a student at this school where bullying, teasing, humiliation, and one upmanship, were the norms of those days. We took our eldest son out of this same school because of bullying and because we felt the then Head wasn’t truthful. Intellectually, I know it’s a different school today, but that hurt 10-year-old child, was scared to trust that the school’s intentions were sincere. After many months of debate, research, agonizing, slogging, walking away, painting, and assessment – all the normal process for the birthing of a piece of art, (and this time the labour was a little longer and harder, as I tried to let go of the past, and take hold of a better future) - finally, and I really do mean, finally, I can happily announce that my quadruplets, my series “Let Us Sing Together” has been born, they’re dressed up and ready to be unveiled. While I tried to conceive, get pregnant and give birth to the artwork, I dreamed big dreams, I schemed and hoped, and I made great plans – but all the while I said these are mine, they are mine, as I cried and I laughed! Give them away - hell no!! Then the other voices would remind me that I made a promise, I made a commitment – are you going to blow it off? Is this an example that you want to set? AAAARGGHH!!! Anyway, when I got a reminder from the school that the work had to come in, I finally said OK, Monica – are you doing this or not? – the debate has to end - Now!! So I had to talk to myself and ask how I could really make it work for me? Under what circumstances could I let them go?? Well, I finally sat down and said what’s the minimum price that you could bear to part with them for?? How can you make sure that you stay in the picture, and give the bidders an incentive to bid higher, so you take less, and the school gets more the higher the price goes. Does that work? Yes it worked for me - so I created a minimum price and bidding guidelines for my artwork, as a way for me to come through this experience with self-respect. As soon as I finalized the minimum price and bidding rules for my babies, a wave of peace floated into my soul. My birds are finally ready to leave the nest!! As they flap their wings and sing their tunes, it’s my hope they’ll find a good home. Now let me tell you what I have told my viewers, my collectors: Only buy one of my paintings to take home if you really love it. Otherwise please leave it with me, buy someone else’s art or dig deep in your pocket and give the school what you can. I’m the birth mother who longed, yearned and dreamed of having children of her own for more than 40 years. When I discovered that I could in fact give birth to my own paintings, it was miraculous for me and even after 8 years of giving birth, of producing, I still love each one. I know I really should be grown up enough to give away one of my babies for adoption without conditions, but I can’t and I won’t. I believe that I’m like all parents – we hope and we dream that our babies will come into your lives touch your hearts and enrich your lives. So I don’t care who you are, what you wear, whether you’re rich, you’re poor or in between - please, oh please, only take them home if you’re going to love them; cherish, treasure them, and let them nurture and nourish you back for as long as you can; and if you grow out of them, pass them on to someone else with love. This is my prayer, my wish and my hope. So love your life with all your heart; fill your home with art you love; fill your soul with beautiful thoughts and know that as you love yourself, so shall that love come back to you from all the corners of the earth. Monica Jones, Artist http://monicajonesartist.com/artwork/ runaway@northrock.bm (441) 292-2753 (441) 332-2753 42 Mill Shares Road Pembroke HM05 Bermuda Art to inspire peace, reconciliation and transformation Read what I have written on these subjects at: http://www.monicajonesartist.com/blog/ | Go to Discussion >> (2 comments) |
1 point by runaway 7 months ago in Other
| Finding a Way To Give(via canvoo.com)I would like to submit an article that I wrote for one of my recent newsletters called Finding a Way To Give. It is about the process that I went through to give to an art auction. Please let me know if you would like me to send you the article, so you can decide if you would like to publish it or not. Many thanks, Monica Jones Monica Jones, Artist http://monicajonesartist.com/artwork/ runaway@northrock.bm (441) 292-2753 (441) 332-2753 42 Mill Shares Road Pembroke HM05 Bermuda Art to inspire peace, reconciliation and transformation Read what I have written on these subjects at: http://www.monicajonesartist.com/blog/ | Go to Discussion >> (1 comments) |
1 point by runaway 7 months ago in Other
| Something that needs to be said about art galleries(via canvoo.com)I just want to say that I get really tired of artists who say, "I also have utilities, rent.. etc. to think about." when someone mentions the expense of operating a gallery. I get it -- everyone has expenses. BUT you have to remember that a gallery, in this context, is a business -- and you don't have to be involved with them. The artist has a business as well... I understand that. Keep in mind though that every business under the sun has some form of expense -- and reaps some form of reward. Every industry, if you will, involves financial transactions, percentages, and so on. The business of art is no different. Do you complain about the cost of art supplies? Technically the art supply company is taking a percentage. And guess what... they have bills to pay as well. Welcome to business -- financial transactions / exchanges rule the day. If you don't agree with the percentage a gallery takes... the solution is simple -- don't get involved with them. If you want 100% of the profit... expect to do 100% of the marketing. It is as simple as that. Stop complaining. Focus on your business model rather than complaining about the business model the other guy follows. If you honestly feel that all art dealers are sitting on easy street... I challenge YOU to open a gallery. Let us see if you can get past the 5 year mark. Let us see if you can make it just one month. I know, I know... you can say the same to art dealers about creating art. BUT remember... creating art is not their business -- selling art IS their business. Your relationship with a gallery is a business partnership... two businesses coming together for mutual profit. Think about that. | Go to Discussion >> (1 comments) |
1 point by bsherwin 7 months ago in Galleries
| The impact of international art fairs on art galleries(via canvoo.com)International art fairs (think Art Basel Miami, Scope Art Show, Frieze Art Fair)have gained ground in last 10 years. They have also gained a lot of coin from art dealers due to the fact that a booth, depending on the fair, can cost thousands of dollars. The success of specific international art fairs has created a pecking order among galleries -- if you don't show with them... you 'don't exist'. Needless to say, art dealers tend to have a love/hate relationship with art fairs. In fact, some dealers will tell you that international art fairs have had a negative impact on the art world AND their business model. The expense for art galleries does not stop after booth fees -- travel costs, paying staff, shipping artwork to and from the fair... it all adds up. That said, galleries are willing to do it... they want the foot traffic and media attention that an organized art fair can provide -- it is as if art fair participation is a sign of status. Unfortunately, participation often chips away at the bottom line of the galleries business model. I know gallery owners who have decided to reduce walk-in hours (which means they have also reduced staff, utilities bills, other expenses of operation... etc.) and exhibits so that they can focus time and resources on preparing for the big art fairs. In other words, some gallery owners change their business model (which impacts the business model of represented artists) simply to 'fit' into the art fair scene. One could suggest that they are being assimilated into the art fair business model. Most of the art dealers I know loathe the influence that big art fairs have today... yet several of them continue to increase said influence by participating. I know there is a lot of concern -- specifically in the world of contemporary art -- about how quickly international art fairs have impacted the gallery world. Some art dealers feel as if they are at the mercy of art fair organizers... participation is viewed as a necessary evil. Furthermore, there is always the fear that the bigger art fairs may eventually shift focus 100% toward individual artists rather than galleries -- which would cause yet another drastic shift business-wise within the art world. With the above in mind, do you think that international art fairs have had a negative impact on the art world? Do you feel that artists are harmed by the influence of international art fairs -- and the impact they have on gallery represented artists? OR do you feel that this marketing direction is needed? Do art dealers / artists need to adapt? | Go to Discussion >> (0 comments) |
1 point by bsherwin 8 months ago in Galleries
| The art world of the future - thoughts?(via canvoo.com)A recent FineArtViews article by Jack White explored the future of art galleries. Jack stressed that artists need to be supportive of art galleries in order for galleries to remain viable in the future. The article sparked some debate about the future of the art world in general. With the above in mind, I want to know your predictions -- what do you think the future has in hold for art world? How will advances in technology and communication influence art galleries, art museums, arts organizations, art collectors and artists? Do you look forward to the future art world OR do you have concerns? | Go to Discussion >> (5 comments) |
1 point by bsherwin 8 months ago in Other
| How long do you promote an upcoming exhibit?(via canvoo.com)Jack White recently said that he spent a year promoting an exhibit involving artwork created by his wife. His dedication to her exhibit spurred me to think about the promotional side of exhibiting art. For example, I know that a lot of smaller galleries rush exhibit promotion -- as in, they may only promote a week or two before the exhibit. Pointblank, some galleries (and artists) treat exhibit promotion as if it is on a production line... they take the 'quick, quick, quick' route. As I told Jack, 'Quick' doesn't always pay the bills. The above raised some questions: Why plan an exhibit for months only to promote it for a week or two (which appears to be common) leading up to the exhibit? Doesn't it make more sense to promote the exhibit for a longer frame of time? How long do you promote an upcoming exhibit? Consider this an open topic about art exhibit promotion. | Go to Discussion >> (6 comments) |
1 point by bsherwin 7 months ago in Galleries
| Art could do without the art world - thoughts?(via canvoo.com)Art dealer Edward Winkleman recently quoted art critic Paddy Johnson, stating, "Art could do without the art world.". Winkleman interpreted her words as meaning that art is burdened by experts and money. What do you think? Has big money, celebrity status, and waves of experts harmed the role of art within the context of society? Does the art market, overall, take away from the impact of art? If you answered 'yes' to these questions... how can the problems be reversed? What can people do to secure the legacy of art beyond art speak and financial transactions? | Go to Discussion >> (0 comments) |
1 point by bsherwin 7 months ago in Other
| At what point does online art marketing become tacky?(via canvoo.com)An artist recently asked me if there is a point at which online art marketing becomes "tacky". She was concerned that her use of Pinterest may be considered tacky by, as she put it, serious art collectors. She also wondered if her old accounts on sites like DeviantART and Artwanted may have a negative impact on her image. In my opinion, she seemed to be worried over nothing. After all, searches of her name did not reveal those sites. It is doubtful that potential art buyers will see those accounts -- unless they dig deep for information. Her concern did raise some questions though -- that being, at what point does online art marketing become tacky? Is there a threshold? Should artists be selective when promoting their art online? Let me know what you think. | Go to Discussion >> (12 comments) |
1 point by bsherwin 8 months ago in Art Marketing
| Do you question yourself ?(via canvoo.com)Keep in mind we all want to succeed in the world of art. I think it's only natural for oneself to question if we feel our art is good enough to compete in contests. Do you feel that way sometimes? Well you are not alone, but you must get out there and try, who knows what can happen. Remember, not everyone likes what we paint but....you will be so surprised how many really love your art and will make comments. This leads to sales my artist friend, don't give up! Put your art out there for all to see. The best of luck to all of us. | Go to Discussion >> (0 comments) |
1 point by shelbycrouse 8 months ago in Art Marketing
| Artists: What social media / social networking sites do you use to build your online presence?(via canvoo.com)What social media / social networking sites do you use to help build your online presence? We have talked a lot about Facebook, Twitter, and Pinterest on this forum -- do you have any other site suggestions? For example, I know several artists who still promote their art on Livejournal in order to attract traffic to their artist website. Believe it or not, I know artists who still use Myspace. What approach do you take with these websites? For example, do focus on establishing a sense of community with other artist and art lovers (participating in debates about art, and so on) OR do you use them simply to share images of your art? Do you focus on local/regional connections (keeping in touch with local artists, galleries, and art-related opportunities in your area) -- or do you take a more international approach to online connections? Feel free to make recommendations -- and be sure to tell us why you use the site as part of your social media / social networking efforts. | Go to Discussion >> (5 comments) |
1 point by bsherwin 9 months ago in Art Marketing
| Artists: Do you use Pinterest for art marketing?(via canvoo.com)Artists: Do you use Pinterest for art marketing? Have you built any online connections using Pinterest? What tips do you have for using Pinterest with art marketing in mind? Considering this an open debate about the ways in which an artist can use Pinterest within the context of art marketing -- feel free to share your experience using the site. | Go to Discussion >> (3 comments) |
1 point by bsherwin 9 months ago in Art Marketing
| Art history book recommendations - do you have any?(via canvoo.com)Art history book recommendations - do you have any? Feel free to list books about specific artists or periods of art history. | Go to Discussion >> (0 comments) |
1 point by bsherwin 9 months ago in Art Resource Recommendation
| shineBIG(via canvoo.com)shineBIG is a new video site for artists. You can upload an artwork, add a video of yourself discussing the art and viewers can critique the art. It is still in the testing phase, so the site is open to feedback and suggestions. http://shinebig.com http://shinebig.com/user/tola/art_035831/15825/ | Go to Discussion >> (2 comments) |
1 point by GayleFaucetteWisbon 8 months ago in Art Marketing
| Print art magazine ads - are they worth it?(via canvoo.com)I think blogging and establishing an online presence in general will do more for an artist than ads in a print art magazine (which can cost thousands depending on the rag). When you post something online it is 'alive' -- it can spread... while a page is just 'there'... contained. The Internet = longevity, whereas an art magazine may end up in a landfill. Food for thought. | Go to Discussion >> (6 comments) |
1 point by bsherwin 9 months ago in Art Marketing
| If you owned a gallery... who would you represent?(via canvoo.com)If you opened a gallery... and could choose 10 living artists to represent -- who would you choose? | Go to Discussion >> (2 comments) |
1 point by bsherwin 9 months ago in Galleries
| Does social networking impact local interest in your art?(via canvoo.com)I recently read that 69% of consumers are more likely to use a local business if it has information available on a social network. I wonder just how that applies to art business. When exhibiting / selling locally... do you think that your online social networking presence (on sites like Facebook, Myspace... etc.), or lack thereof, has impacted your influence on local buyers? | Go to Discussion >> (4 comments) |
1 point by bsherwin 9 months ago in Art Marketing
| Organizing an art studio -- share your tips!(via canvoo.com)Do you have any advice about art studio organization? For example, do you have any DIY suggestions for building storage racks? Perhaps you have some advice for keeping the art studio environment healthy -- proper ventilation, and so on? Share your tips -- and experience. | Go to Discussion >> (0 comments) |
1 point by bsherwin 8 months ago in Art Technical Questions
| Tell us about your favorite art movement.(via canvoo.com)Do you have a deep love for Surrealism? Are you in awe over the legacy of the Chicago Imagists? Perhaps you enjoy more recent art movements, such as Stuckism OR Superflat? Tell us about your favorite art movement -- and how it has influenced you. | Go to Discussion >> (0 comments) |
1 point by bsherwin 8 months ago in Other
| Studies for a commission(via canvoo.com)If I am commissioned to do a painting by a private land owner and I paint several studies for the owner to choose from, can I then show and sell those studies that are not chosen? They do not identify the property in any way to the general public. | Go to Discussion >> (0 comments) |
1 point by RYvonneColclasure 9 months ago in Other
| Do you stretch your own canvas?(via canvoo.com)Do you stretch your own canvas? If so, do you have any tips? How did you learn the process? Can you recommend a tutorial? Consider this an open thread on stretching canvas. | Go to Discussion >> (0 comments) |
1 point by bsherwin 8 months ago in Art Technical Questions
| Painters: Does canvas size matter?(via canvoo.com)Based on your experience... do you feel that a specific size of canvas is more marketable than other sizes? Do you think size -- canvas size that is -- matters to art buyers? Note: I'm not thinking in terms of prices (I realize smaller paintings are normally priced less than larger paintings)... I'm thinking in terms of space. I'm just curious to know if buyers, based on your experience selling art, are more apt to buy smaller painting compared to larger paintings with size being one of the main factors. | Go to Discussion >> (0 comments) |
1 point by bsherwin 8 months ago in Art Marketing
| Bravo's version of the art world -- Gallery Girls and Work of Art(via canvoo.com)The television network Bravo has brought the art world to reality TV. That said, many art writers feel that reality TV shows like Gallery Girls and Work of Art have done more harm than good regarding the overall image of the art world. What do you think about these shows? Do you watch them? Do you feel that they build upon negative public perception as to what it means to be an artist -- OR what it means to work at an art gallery? Does it matter? | Go to Discussion >> (1 comments) |
1 point by bsherwin 8 months ago in Other
| Pricing artwork involving found objects(via canvoo.com)When viewing artwork that involves found objects I often note the fact that artists use items, specifically antiques, that may have stand-alone value. I wonder if some artists calculate the value of the items toward the asking price of their artwork. I know that some don't... because I've seen artwork involving old figurines that are worth more than the price of the artwork. With this in mind, should artists take the value of an object used for art into consideration when deciding on a price for the artwork? | Go to Discussion >> (2 comments) |
1 point by bsherwin 8 months ago in Art Technical Questions
| Tell us about your experience participating with a co-op gallery(via canvoo.com)Tell us about your experience participating with a co-op gallery. Was the co-op gallery worth your time and effort? Did you see results? What advice do you have for artists exploring the art marketing potential of a co-op gallery? | Go to Discussion >> (1 comments) |
1 point by bsherwin 8 months ago in Art Marketing
| Should US artists receive tax exemption?(via canvoo.com)I recently read that in Ireland artists can receive up to $55,000 in tax exemption for producing art of "artistic and cultural value" (I'm not sure how that is determined). My question: Do you think that artists in the US should benefit from tax exemption as well? My guess is that the majority of artists in the US earn under $55,000 per year from sold artwork. If memory serves me correct an artist in the US must file sold work if more than $400 is earned within the year. Needless to say, a $55,000 tax exemption would cover a lot of artists in the United States -- while also giving big earners some wiggle room when the economy is not so good. Thoughts? | Go to Discussion >> (3 comments) |
1 point by bsherwin 8 months ago in Other