Submissions From canvoo.com
1 point by Jaef 5 days ago Tags: | All Quotes by
1 point by mydcddesign 13 days ago Tags: | All Quotes by
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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!
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1 point by Hans 4 months ago Tags: | All Quotes by
1 point by artbylindasmith 5 months ago Tags: | All Quotes by
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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
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1 point by cooper 5 months ago Tags: | All Quotes by
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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/
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1 point by runaway 8 months ago Tags: | All Quotes by
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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/
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1 point by runaway 8 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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.
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1 point by shelbycrouse 9 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
1 point by bsherwin 9 months ago Tags: | All Quotes by
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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/
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1 point by GayleFaucetteWisbon 9 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
1 point by bsherwin 9 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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.
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1 point by RYvonneColclasure 9 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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.
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1 point by bsherwin 8 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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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?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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A recent FineArtViews article by Tim Breaux, titled, The Illusion of Value made me think about how artists see... as in vision determined by the health of their eyes. There are some famous examples of artists who may have (or certainly) had vision problems. In fact, some people theorize that vision played a major role in Vincent van Gogh's approach to painting. There are also examples of value changes -- and color preferences -- involving the lifespan / career length of various artists.
With the above in mind, I'm interested in knowing... do any of you have eye conditions? If so, do you think the unique way in which you 'see' -- based on the condition of your eyes -- has helped or hindered you as an artist?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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I've been involved with a debate on FineArtViews about what it means to be a 'professional artist'. Needless to say, the debate has sparked my interest in knowing how others define professionalism in art. I want to know what YOU think defines a professional artist. Is professionalism in art based on a monetary value? Education? Year exhibiting? What factors do YOU consider when thinking about what it means to be a professional artist?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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I'm certain that we have all heard of 'creative ruts' -- periods of time that seem to be drained of creativity. Artists eventually bounce back from those ruts. With that in mind, what do you do when you find yourself in a creative rut? How do YOU climb out, so to speak? Feel free to share any tips that you have for dealing with creative ruts.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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How do you handle frustration when creating art? Do you 'walk away' from your art studio? Do you work on something else instead? Perhaps you 'keep at it' until the frustration passes? Feel free to offer advice on dealing with frustration in this context.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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Will you be involved with an upcoming art exhibit? Tell us about it. How have you prepared for the exhibit? Is there a general theme? Who will you be exhibiting with? Feel free to offer a link.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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I'm certain that some of you have heard this line at one point in your life -- "Artists are not interested in making money.". It goes without saying that I disagree with this statement. If artists, in general, are not interested in making money doing what they do... tell me why there are millions of artists on various art websites (deviantART alone has over 11 million members) that offer an e-Commerce platform? Why do so many artists have a pay option on their personal website? Why do so many artists frequent websites and blogs that focus on art marketing? Why do so many artists want to be represented by commercial galleries? You can gain recognition in ways that don't involve price tags -- yet artists tend to want representation with those galleries... if not for the money, why? The idea that all artists 'don't care about money' is absurd -- another stereotype. What say YOU?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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An artist recently mentioned that not every artist can move to New York City -- I assume that he felt NYC is the place to be. I disagreed with that idea. Based on data I've seen it appears that many artists are moving away from NYC in the first place. The cost of living in NYC makes it difficult to focus on art... even when the economy is good. Moving to NYC is not a golden ticket.
The whole 'Gotta be in NYC to make it' idea is beat in our heads -- we see it on TV, read it in books... Hell, NY promotes the idea -- a glorified gimmick. In my opinion, the majority of the artists who moved there would have had a better chance of success had they stood their ground instead of moving.
I've worked in Manhattan. I was based there when I worked for Myartspace -- I helped with gallery consulting and exhibits as well. What did I notice? A lot of artists (working two to three jobs) barely getting by due to the cost of living while an extremely small percent had gallery representation -- and most of those artists were struggling financially as well due to the expense of day-to-day life.
Artist Jack White recently said, "The truth is you can live anywhere and make it." -- and that is the truth. Make a big enough noise and the big city gallery owners will take notice... and even if they don't -- there is no need to restrict yourself to their terms.
Do artists need New York City? I don't think so. I like NYC as much as the next person... but you don't have to follow Frank Sinatra's advice. I want to know what YOU think though -- is NYC a 'must' for artists who want to 'make it'?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I have found that some artists don't agree with some of the protections offered to artists by the Visual Artists Rights Act (VARA). For example, one artist I spoke with suggested that art buyers should have the right to do whatever they want with a work of art after it is purchased. Another suggested that art buyers should not be held responsible if a work of art is destroyed (due to negligence) while in their possession. What do you think? Do artists need the Visual Artists Rights Act? Should VARA be less strict? I support VARA -- but I want to know what YOU think about it.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I just read another story about a an expensive work of art purchased at a Goodwill location for a few dollars. The artist who purchased the painting had planned to paint over it -- but her partner recognized the work. The $5 painting ended up being worth $20,0000. Needless to say, the artist decided not to paint over the artwork. There is another side to stories like this... and the media rarely mentions it. People forget that artists have specific rights concerning their artwork... even after their artwork leaves the studio.
I realize that a lot of artists hunt for cheap canvas at thrift stores in order to 'recycle' the painting. They don't stop to think if their action is unethical or not. That said, I have a feeling that most don't realize that the creator of the painting -- especially if he or she is still alive -- can take legal action if he or she discovers that someone has destroyed or altered his or her artwork. It does not matter if the artwork itself is famous or not... it does not matter if the artwork was found in a thrift store.
When artwork is sold the artist still has rights to the work itself unless there is a contract that states otherwise. He or she has the right to defend the integrity of the artwork -- as well as his or her intention for the artwork -- legally. Those rights don't change if the artwork changes hands... even if it is donated to a thrift store.
I will probably write about this issue at length for FineArtViews. For now.... I want to know what you think about painting over artwork created by another artist. Do you feel that it is unethical? Should thrift stores make it clear that the artist may still hold rights to the artwork on display? Do you feel that art is 'fair game' (the buyer can do whatever he or she wishes to do with it) if it ends up at a thrift store? What would you do if you discovered that one of your artworks ended up at a thrift store -- and from there, 'erased' or altered? What if your artwork ended up exhibited after minor changes? If you decided to take action... who would you hold responsible -- the thrift store or the buyer?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Did you attend art school? Perhaps you were an art major at a college or university? Tell us about that experience. Can you describe the environment of the art program you remember from your school years? Did a specific instructor stand out? With the knowledge that you have today -- would you do it all again?
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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At what point did you decide to market your artwork? Why did you decide to explore the business side of art? Did the concept of art marketing come easy to you -- or did you have trouble thinking in terms of business? Where did you go for information/guidance during those early steps? Tell us about your first art marketing steps... and by all means, share what you have learned.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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Have you ever felt like one specific work of art defines who you are as an artist? Did you have a hard time letting go of that artwork? Do you still have it? Can you explain the bond you have with that work of art? Tell us about your most memorable work of art -- and how creating it made an impact on your life.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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It has been hot, hot, hot in Illinois -- and throughout much of the US. With that in mind, how do you 'beat the heat' during an outdoor exhibit? How do you prepare yourself -- and your artwork -- for weather conditions during an outdoor art fair? Do you avoid exhibiting outdoors depending on the weather? Feel free to offer tips for keeping cool.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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There is a long-standing tradition of artists 'capturing' the tragedies of their time on canvas. Artists ranging from Goya to Picasso did it -- and you can go further back than that. Today we see artists creating art about specific incidents -- the 9/11 attacks, the death of Trevon Martin, the James Holmes 'Joker' massacre... the list goes on. Tragedy can inspire an artist -- it can also grab headlines (art galleries that have focused exhibits on specific tragedies know this well). Needless to say, this choice of exploration can become controversial when the artist (or art gallery) profits from tragedy -- even more if a percentage of profit is not donated to a charitable cause. It begs the question: Is it unethical for an artist (or art gallery) to profit from tragedy? Let me know what you think.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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You see 'Female Artist' or 'Woman Artist'.... never 'Male Artist' or 'Man Artist' -- why is there a need to point out that an artist happens to be female? Why does the artist who happens to be female have to be something other than just an artist? I blame museums on this practice... galleries as well. I feel the same way about race being placed before 'artist'. I suppose one could suggest that these labels/indicators are a negative side of art marketing... be it promotion for an art exhibit or sales 'pitch'. With marketing comes labels -- and they are not always positive for the individual. What do you think about labels used within the art world AND within the scope of art marketing?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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We all know the stereotypes that artists are faced with: The bohemian, half-crazed painter -- an odd mix of social butterfly and loner -- the obsessed creative who can't hold down a 'real job' or relationship... the romanticized rogue. YOU know the stereotypes. YOU have likely faced them at some point. These stereotypes of artists have long been used in literature -- and more recently, film. The 'artist character' is interesting -- but in reality most artists simply don't fit the role.
These stereotypes -- the classic role of the artist -- are entertaining. They intrigue readers and moviegoers. That said, the stereotypes have infiltrated beyond the realm of mere entertainment. These stereotypes have been used against artists by politicians and others who are in positions that can impact the arts in general. The stereotypes of 'The Artist' have had a negative impact on the art community as a whole... even though the majority of artists are nothing like the characters found in novels and movies.
With the above in mind, how do we, the art community, ward off these artist stereotypes? How do we inform the public that not all artists are inspired lunatics... or passionate heart-breakers? How do we stomp these stereotypes out? I've known thousands of artists over the years -- I can honestly say that the majority of them are the complete opposite of the common stereotypes pinned to artists. I often wonder if the negative image of 'The Artist' can be reversed. What say you?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I'll be honest... it can be Hell if your partner does not 'get' what you do as an artist. I sacrificed several relationships for my art when I was younger -- one ex actually made me choose between her and my exploration of painting. I still have my brushes. That relationship cycle continued with my writing. Pointblank, a lot of my former lovers simply could not put up with my love for art. One could suggest that they felt as if they were the 'other' woman. So bet it.
I remember one ex suggested that I'm "married to art". I did not disagree with her. Another justified cheating because I spent too much time "doing the art thing" -- she felt that all of my time should have been focused on her (I'll choose gallery hopping over bar hopping any day of the week). Another felt it was a "waste of time" (even though by that time I was making a living 'doing the art thing'... which beats stocking shelves at Walmart). Needless to say, I often wonder if other people have faced relationships struggles due to their dedication to art.
How have relationships impacted you -- positive or negative -- as an artist? How do you handle the situation if a partner asks you to 'cut back' on the hours you spend in the studio... or if your partner demands you to stop 'doing the art thing'? Do you change your practice -- or are you dedicated to your 'marriage' with art? Have you sacrificed a relationship for your relationship with art?
Consider this an open thread about relationships and art.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I've been commenting today on a post that Brian Sherwin put up - about an artist saying they couldn't afford oil paint. Over the years, I've developed ways of saving on art supplies by investigating which brands offer high professional standards and yet, cost less - and also making some of my own surfaces that perform as well as the highest quality linen canvases.
If anyone has worked out ways to save money on art supplies, substrates, framing, etc - please feel free to share here. We could all benefit (except maybe some of the art supply manufacturers) by sharing our tips and experience.
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1 point by lwsimons 10 months ago Tags: | All Quotes by
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What online art groups do you frequent when seeking art criticism? At times it can be tough to receive anything other than "Awesome" -- can you recommend any online art groups that take art criticism seriously?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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During a recent gallery hop I overheard someone say "I can't afford to be an artist!". The statement was directed at the cost of oil paints. That public declaration -- along with a recent debate on FineArtViews -- made me think about how the average American uses money. I did some digging online... and discovered the following:
According to TIME - Moneyland...
The average costs related to using an iPhone in the US can easily top $1,900 per year. (Think of how many people use an iPhone today)
The average US household spends approx. $850 per year on soft drinks. (That does not include soft drinks purchased while on the road)
The average US worker spends more than $1000 per year on coffee. (That data did not include coffee made at home)
The average woman in the US will own over 469 pairs of shoes in the course of her lifetime. TIME, based on info from Glamour, estimates that the average women spends $25,000 on shoes over a lifetime. The average male sports fan spends nearly as much on pay-per-view events... boxing, wrestling, you name it.
With the above in mind... I would suggest that the average American CAN afford to explore art if he or she is willing to make a few sacrifices. One could easily afford art supplies -- and perhaps an art workshop or two (not to suggest that you need to take art workshops in order to be an artist) -- with a few deductions from the above. Sacrificing a few trivial pleasures in order to pursue something that will likely bring you more joy is a good investment.
If you happen to be an active artists... my guess is that you could go further with your work if you cut back on trivial spending -- make coffee at home instead of buying a daily cup at a fast-food joint... try a generic brand of soda instead of buying Pepsi... chip in with a few other people if you must watch a pay-per-view event. Food for thought.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I read two articles today that explored art criticism and social networking. One article implied that negative art criticism can potentially be a form of bullying. I think that depends on the context. If the critic is relentlessly bombarding the artist with negative criticism... sure... he or she may be a 'bully' depending on the approach. That said, the act of pointing out problems with the image does not automatically mean that the person is a bully.
We should not expect art criticism to be 'rainbows and sunshine' 100% of the time. I'm not suggesting that mean-spirited comments are acceptable. That said, art criticism does not translate to 'fan club'. This is the truth: the "your artwork sucks" comments are no more helpful than the "your artwork is awesome" comments. I, for one, think that artists should be content if someone takes the time to point out basic problems with their images. If the critic happens to be another artist... you may want to pay attention to what he or she is saying. That is art criticism... and it is worth more than a 1,000 'Likes' on Facebook.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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With the whole of art history in mind... which artist stands out the most in your opinion? Who is your favorite artist from the past? How has his or her legacy impacted you? I know that I've always admired Modigliani. I often wonder what he would have accomplished had he not died so young. A few art historians have suggested that he may have surpassed Picasso had he lived longer. That suggestion alone is extremely intriguing for an art history buff.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I can think of a few art supply stores that tend to offer discounts at specific times of the year. For example, the Michael's in my area often has reduced prices on canvas during the summer months -- followed by reduced prices on drawing supplies during the winter months. The Illinois and Missouri locations share the same discount trend.
Where do you shop for art supplies? Do you know the best time of year to buy discount art supplies at that location?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Collecting and selling ACEOs was a solid trend during my college years. I can remember fellow art students making a steady stream of money on eBay -- there was even a club for trading and selling cards in Springfield at that time. That said, it seems that the popularity of buying and selling artist cards has died down some since around late 2007. In fact, if you research ACEOs you'll find that most of the big online media articles were posted between 2003 and 2006. That alone begs the question -- are ACEOs still popular with art collectors seeking affordable art? Why does it appear as if there is less interest? Perhaps I'm missing something... I want to know what YOU think about this topic.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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The cost involved with entering online art competitions has long been a controversial topic among artists. Some feel that all art competitions (including those offline) should be free to enter. Others acknowledge the expense of maintaining an art competition -- entry fees are often used to secure prizes, pay jurors, and promote the competition. I want to know what YOU think... are you offended by art competitions that involve an entry fee? Are you OK with paying a fee as long as it is reasonable? What are your thoughts concerning art competition entry fees in general?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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A recent FineArtViews article spurred debate about the use of watermarks online. I thought it would be good to discuss the issue on the art forum as well. Do you use watermarks on your online images? Tell us why. Are you dead-set against using watermarks? Tell us why. Consider this an open topic about the pros and cons of using watermarks.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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When researching an art gallery (with potential representation in mind)... what red flags do you look for? In other words, how do you decide if the gallery is 'right' for you? How do you discover if the gallery is operated professionally? How do you know if the gallery will benefit you? (I have an article in mind... feedback on this would be great).
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Do you barter art for services? For example, say you need professional photos of your artwork -- would you consider trading a painting for photography services? Share your experience if you have bartered art for services.
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1 point by bsherwin 9 months ago Tags: | All Quotes by
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Artists tend to have a love/hate relationship with press. Pointblank, artist desire media exposure for their art exhibits... BUT many (I base this on my experience with artists) loathe the process of connecting with local media. I think the fear of being rejected plays a major role in this common love/hate relationship. I often wonder if that fear keeps some artists from contacting press about upcoming exhibits (or other achievements).
With the above in mind... I want to know if YOU push for media exposure by contacting local press directly. How often do you contact local press about your art? How do you 'pitch' your exhibit to local media? Would you suggest that exposure in print is still a vital aspect of marketing art? Do you have any tips that you would like to share?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Tell us about your first art exhibit experience. Where did your first art exhibit take place? Can you describe how you felt during the exhibit opening? What did you learn from that first experience?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I noticed several new additions to the art section -- mostly art marketing books -- at the local Barnes & Noble. Most of them were written by artists I've never heard of... all claiming to have the secret to art marketing success. Needless to say, my summer reading list did not expand that day. Perhaps YOU can help my library to expand? I want your endorsement... is there a specific book about art -- be it about art marketing or a specific artist -- that you simply can't put down? List them.
Feel free to offer a summer reading list involving art-related books. You don't have to focus on art marketing books... BUT those suggestions may help artists who stumble on to this forum entry.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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I get annoyed when a high profile art magazine features van Gogh. The hard truth is that most of the big art publications today would not have noticed van Gogh had they existed back then. Think of the van Gogh's of today who are ignored by the art world powers that be. The high profile art world has yet to do much with regard to discovering artists beyond the mainstream art market. If you don't exhibit in the 'right' galleries... you don't exist in their world. Thoughts?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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There has long been a clash over the acceptance of digital art as a valid form of art. I've known traditionalists who have outright refused to accept digital art as art. It is not hard to find that attitude online -- be it in the form of a blog post about the topic OR online art group exploring digital art. The most volatile opinions seem to come from individuals who have no clue about the process of creating digital art. In other words, they feel that "all of it is easy to do.".
With the above in mind, I want to know your thoughts concerning digital art. Do you acknowledge it as art? Do you feel that it is not a 'serious' direction in art? If digital art is not art... why? Let me know your opinion. If you happen to be a digital artist... feel free to explain the challenges of creating digital art. Keep it civil.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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If you follow online art publications you have likely read -- or have heard of -- Artnet Magazine. The online-only art publication recently pulled the plug after 16 years. Needless to say, the closure has fueled debate about the validity of online-only art publications in general -- including specific types of art blogs. The 'pro print' crowd is having a field day with it.
With the above in mind... I want to know where you go for art world news. Do you subscribe to print art magazines? Do you only read online art publications? How will the end of Artnet Magazine impact online art writing in general?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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This is important information for artists who use Facebook as part of their online art marketing efforts. Facebook recently decided to change all listed profile email addresses without the consent of users. They did not provide a warning for this change.
If you look at your profile information you will see that your contact email address has been changed to a @facebook.com email address. Apparently they did it to promote their email service. You will need to edit your profile in order to make your chosen email address visible again... and, if desired, to hide your @facebook.com email address.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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When I do research on an artist I like to look at the CV/resume if available. I've noticed over the years that many artists will mention in their bio that they have won numerous awards -- yet when you look at their CV/resume none of those awards are mentioned. That may not matter to some viewers... but it does to me. I feel that a few should be listed if the artist is going to state that he or she has won numerous awards.
The problem with not listing any after making a bold statement like that... is that it creates a guessing game: Is the artist being honest about numerous awards? When did the artist receive these awards -- is he or she talking about awards from years ago while in high school? Why has he or she chosen not to list any? As you can tell... these questions are not exactly positive. Why mention awards if you are not going to provide examples of specific awards?
What do you think about this?
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1 point by fav 10 months ago Tags: | All Quotes by
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It is not uncommon for me to read a post by an artist concerning an offer for a nonpaying 'job'. I've seen it ALL over the years: filmmakers wanting free artwork for movie posters, comic book writers wanting free character designs, independent video game designers seeking free concept art... etc. They want free, free free -- yet if the artist suggests a tradeoff of services to make up for lack of pay... silence. I'm certain that some of you have heard those crickets chirping at some point in your career.
The problem is that there will always be an artist out there who will do the work for free. People know that artists want name recognition... and they use that as a lure. Some will take the bait. I realize that depending on the situation it may not be such a bad deal to accept work without pay -- BUT I can think of only a few acceptable scenarios.
This is what I want to know: do YOU refuse to work for free? (I hope so).
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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Artist Thomas Kinkade often pitched himself as the 'Painter of Light' -- he built his career image upon those words. If you read/hear 'Painter of Light' there is a huge chance that you will automatically think of Kinkade. Image building worked for Kinkade -- even though his 'real life' may not have reflected it at times. Artist Chet Zar -- humor in mind -- has used 'Painter of Dark'... which has -- though used with sarcasm in mind -- become part of his career image.
With those two examples in mind... how do you build your 'image' as an artist? Do you? Do you use a self-declared title, if you will, to describe your status/direction as an artist? If so, how has that use impacted your art marketing efforts?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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With art marketing in mind -- what have you gained from online social networking? I have read/heard varied opinions about the role of online social networking in regards to art marketing. Some artists claim that online social networking is "useless"... while others state that it has benefited their art marketing efforts.
I want to know how online social networking has impacted your art marketing efforts. Have you been involved with an art exhibit due to social networking online? Can you link sold artwork to social networking online? In what way has social networking online empowered you as an artist? OR do you feel that online social networking -- with a focus on art marketing -- is a waste of time? If so, why?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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I have read a lot of articles over the years about the expense of studying art on the college level. Pointblank, it is not uncommon to read about how expensive attending college for art is... and opinions about why it should cost less. That said, I have not found many articles exploring complaints about the expense of art workshops (I have read comments that tackle the issue) -- which strikes me as odd since some of them can be rather pricey considering they may last only a few hours. Do you have an opinion about the cost of attending art workshops? At what point is the cost too high?
Note: Do NOT turn this into a 'beat up session' directed at specific art workshop instructors. Stay civil.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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Do you have any regrets when you think about where you are as an artist today? For example, do you feel that your work would have been stronger had you attended art school... OR if you had put off having a family? Do you wish you had accepted the call of art earlier in your life? Do you have any regrets -- or would you suggest that the distractions of life, if you will, have shaped you into the artist you are today?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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It is not uncommon to read someone suggest that the art of drawing -- specifically classical drawing -- is drifting away. I personally don't think that it is. That said, I'm curious to know just how often you draw. I'm not counting studies for a painting or whatever it is that you do... I mean drawing for the sake of drawing. Furthermore, when you do draw... do you draw from life OR from your imagination?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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There are several outdoor art fairs in the works in my surrounding area. I've been thinking about outdoor art fairs in general -- the environmental side, as well as the social dynamic of the event. I want to know about your experiences.
Outdoors art fairs are unique because there are so many other factors to consider when exhibiting. You have to think about weather conditions and social conditions (I remember a large anti-war protest 'invading' an outdoor art fair in St. Louis a few years ago). Pointblank, outdoor art fair exhibitors / organizers have less control compared to exhibiting indoors. Needless to say, the conditions are perfect for stories... again, share your experiences.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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An artist recently made it clear to me that he becomes angry when gallery owners fail to respond to his emails / phone messages. I understood his frustration. However, I also understand the position of gallery owners in general. Pointblank, they simply don't have the time to respond to every artist.
Artists need to remember that a commercial gallery is a business. Commercial galleries don't exist to preserve/document art -- they are in the business of making money. Don't confuse them with a non-profit art organization... don't feel insulted if they do not reply to you. There are better things you can do with your time.
I don't necessarily blame gallery owners for ignoring artists while focusing on their represented artists. After all, would you want to be represented by an art dealer that spends most of his or her time responding to random messages from artists? Would you be content knowing that a percentage of your sold work is going toward hiring a staff member assigned to answer random messages? Think about these two questions -- and be honest. You would be furious.
It depends on the scenario though. For example, if the gallery is actively searching for artists -- an open call, for example -- I’d say that it is extremely rude if the art gallery fails to respond to artists (unless they make it clear that they will not be contacting artists they are not interested in). Even in that scenario you will most likely receive a generic message if they do contact you. It is a 'damned if you do, damned if you don't' situation’ for art galleries... because some artists would rather not be contacted than receive a generic message.
With all of this in mind... do you get angry if an art dealer does not respond to your messages? Why do you get angry? Do you disagree with my opinion? I want to know what you think.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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I've been reading about Artify. Artify has been described as 'Netflix for the art world' -- art collectors pay a monthly fee in order to have artwork shipped to their homes. The artwork can be sent back if the collector decides that he or she does not like it. My understanding is that if the collector enjoys the artwork... he or she will make monthly payments until it is paid for -- and that Artify and the artist split the payments (which likely means that participating artists will raise prices to offset Artify's cut).
I plan to learn more about Artify. For example I'm interested in knowing if Artify insures the artwork -- or if the artist is expected to insure his or her artwork. I can see how it may work well depending on the artist and collector -- but I can also see how problems may arise depending on the individuals involved.
I'm curious to know what artists think about Artify's business model. Would you participate in a program like this?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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I recently read an excellent MPBN article by Jay Field. The article explored the need for a focus on creative economy fueled by the arts. As the article pointed out -- it can take half a decade or more for a new factory or store to be built if you take into account the time spent on planning. On the other hand, a theater company, community art gallery or small museum can spring up almost over-night by utilizing existing structures within a community. Those ventures can create jobs AND increase community pride. Creative economy is something we, as a society, should take more seriously.
With the above in mind... what role can you play in supporting creative economy within your community? Have you ever thought, "that would be an excellent place for an art gallery", when driving by a building that has been vacant for years (you'd be surprised how many vacant buildings are city/state property)? Do you have an opinion about creative economy (with a focus on the arts) in general? I plan to write about this topic soon -- your opinion is important. I want to know what you think. Feel free to offer your thoughts -- and let me know if it is OK to quote you.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Lately, there hardly seems to be any activity on my Facebook page. This seems to coincide with noticing that there is now a way to promote your page more by paying a fee. Is anyone else noticing less activity on your art page?
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1 point by GayleFaucetteWisbon 11 months ago Tags: | All Quotes by
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A recent FineArtViews article by Keith Bond spurred me to think about the use of reference photographs and digital manipulation of reference images. As I mentioned on that article, I know an artist (painter) who is also good with digital programs. If she takes reference photos she will edit the image in a program (I'm not sure which one she uses). That way she can 'play around' with the reference image until it is to her liking. Once the image is 'perfect' she will use it as a reference for a painting. (Note: She does not work with photos unless she takes the photo herself.).
I know that some artists feel that the use of reference images is "cheating" -- which likely means that the same artists would view the use of a digital program as cheating. This is the way I see it: if the technology is there (and you are comfortable with it)... use it. That said, I know the 'less of a painter' mentality exists... and that some artists (specifically painters) loathe it when another artist chooses to use image references.
I want to know what YOU think. Is it 'cheating' if an artist uses reference images -- or digitally manipulated references -- as a base image for a painting? If so, what exactly is the artist cheating on? Your rules? Your interpretation of what painting should be? What is all the fuss about?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Where do you obtain artistic inspiration from? Is there anything specific that inspires you to keep creating art? If that 'piece of the puzzle' ended up missing... would your motivation be decreased? Feel free to tell us about your inspiration.
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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Have you established a regular base of online art buyers? Do you had more luck with one-time art buyers online? Which do you focus on art marketing-wise? Do you cater to regular buyers online... OR are you looking for random buyers?
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1 point by bsherwin 10 months ago Tags: | All Quotes by
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A controversial work of art by artist Brett Murray may potentially spur bloodshed in South Africa. The controversial image involves South African President Jacob Zuma -- apparently the artist has received death threats over the image. Other reports suggest that freedom of speech supporters -- who have shown support to Murray -- have been threatened as well. The situation begs the question: Is art censorship acceptable if it may prevent violence? What do you think?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
1 point by GayleFaucetteWisbon 11 months ago Tags: | All Quotes by
1 point by GayleFaucetteWisbon 11 months ago Tags: | All Quotes by
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I recently took part in a debate about Twitter and following. One participant suggested that 'following back' makes an artist look like an "amateur". He went on to suggest that artists should try to be part of the so-called Tweeting Elite -- people who have thousands of followers... but only follow a few people. I disagreed. I think it is important to follow back on Twitter. You can promote yourself as a 'micro-celebrity' without cutting off the conversation.
This is why I think it is important for artists to follow back on Twitter (in no specific order):
1.) You will have access to direct messaging with people you follow back. This means that they can direct message you... and you can direct message them. I'll admit that I don't check direct messages on Twitter as often as I should... BUT when I do I normally find a few messages that are useful to me as a writer. It has lead to interviews with artists AND valuable exchanges of information with fellow art bloggers. In my opinion, it is foolish to not take advantage of that feature.
2.) Not following back can send the wrong message to followers. You may have a good reason for not following back... but if you have thousands of followers and rarely follow back it may lead some individuals to feel that you don't care about people who are interested in you and your artwork.
3.) People tend to be more apt to retweet your tweets if you follow them back. That can be extremely important if you are an artist. After all, if you post information about your artwork... you want people to retweet it, right? Keep that in mind when deciding if you will follow back or not.
4.) One can assume that Twitter will offer more site / communication features in the future. Some of those future features may be designed for people who follow each other. For example, imagine if Twitter Direct Messaging allowed you to 'Message All' -- in the same way that Facebook once permitted with groups. That would be extremely useful... as long as Twitter weeds out obvious spammers.
What do you think about Twitter and following? Do you 'follow back'? Do you consider yourself a member of the Tweeting Elite?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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The old saying "any press is 'good' press" may not apply today. With blogs and social media it has become easy for writers to 'kick up controversy' about an artist or art exhibit. These articles -- for better or worse -- can follow an artist. It can be a thorn in you art marketing side.
With the above in mind, how do you handle bad press about your art -- OR who you are as an artist? Do you ignore it? Do you put your 'flame war' armor on? If faced with this situation... what do you do?
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6 points by bsherwin 11 months ago Tags: | All Quotes by
1 point by bsherwin 11 months ago Tags: | All Quotes by
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Do you have any suggestions for vacation trips that involve art? Perhaps you know of an interesting art museum exhibit taking place this summer? Feel free to comment with ideas.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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The 'art of game' has become a buzzed about topic in recent months -- fueled further by discussions about what has been defined as the New Aesthetic. That said, video games (and yes, gaming culture) have been an inspiration for some artists for well over 20 years. It is nothing new. People (museums as well) are starting to take notice... and based on the hype one would think that video games have only influenced art in the last few years. It is a tad frustrating when you know better.
With the above in mind -- I want to know what YOU think about the influence of video games on art. I'll keep the topic open... ranging from altered video games presented as art (examples of which existed long before the editing features provided by most game emulators today) to paintings involving video game characters that comment on life situations. Do you 'look down' at these directions in art? Do you enjoy them?
What about video games in general? Can a video game -- created by a video game company -- be a work of art? The Smithsonian has explored this idea -- but what do YOU think? What does the 'art of game' say about the state of art today? What does it say about public interpretation of art? Is this 'good' for art -- or are we taking a step back?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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Do you maintain an art blog? If so, how often do you post about your art? Do you feel that maintaining an art blog is important for your online art marketing efforts? Is your art blog strictly about your blog -- or do you cover other topics about art? Do you have any advice about art blogging in general? Feel free to share information -- and DO offer a link to your art blog if you desire.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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A recent FineArtViews article spurred debate about bank loans and the business of art. Long story short, an artist mentioned that an art marketing workshop instructor had suggested that artists need to have a business plan in order to obtain bank loans. The artist was shocked that bank debt was presented as a good business move for artists.
The scenario raised several questions: Should artists attempt to obtain bank loans in order to expand their art business? Why would an artist need a loan from a bank in the first place? The business side of art is tough enough as it is -- would bank debt further complicate things?
I want to know what YOU think. Should artists consider obtaining bank loans in order to help fund their art marketing efforts? Please share your experience if you have found yourself in this situation.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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Submitting a Robert Genn post from today June 1, 2012, for your top posts list.
This one is a classic... and should be posted on every wall of every artist.
"Your Inferior Shadow"
http://clicks.robertgenn.com/self-esteem.php
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1 point by 31728 11 months ago Tags: | All Quotes by
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I've noticed several art marketing gurus pitching the idea of establishing 'international sales' lately. I think it makes more sense -- for the majority of artists -- to place solid focus on establishing regional influence. Why take a big leap overseas if you don't have any 'footing' back home?
This is the way I see it: if you can gain recognition by arts organizations / museums (colleges as well) in your region it will help your art marketing efforts if you choose to expand. Once you have some 'footing' in your home area... you will always have a place to 'step back' if needed... AND it will afford you some presence (press) when 'stepping out'.
I want to know what YOU think. In your opinion -- how important is it for an artist to focus on regional recognition / influence?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Artist / critic Joanne Mattera recently suggested (in response to a Marketing Mondays reader question) that artists who inform Facebook 'friends' (using their Timeline/Wall) about sold artwork are 'desperate'. She described it as a "desperate cry for validation". I don't agree with Mattera... I see nothing wrong with informing your social networking connections about artwork that has been sold -- especially if the artist is using his or her Facebook account with art marketing in mind.
If it is 'desperate' to utilize social networking in order to inform friends/followers (people who should care about your achievements as an artist) about sold artwork... does that mean that posting images of your art, in general, is also a "desperate cry for validation"? I don't think so. I think it is a sign of an artist who wants to share his or her art with the world -- and there is nothing wrong with including additional information along with the 'visual message'.
What do you think? Are the 'I just sold this painting' type posts a 'desperate cry for validation' in your opinion? Do you find them annoying? Mattera went as far as to suggest 'defriending' artists who do this. I just don't see the issue here...
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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If you follow my articles you know my opinion on the issue of inequality within the professional art world. That said, I want to know what YOU think: Does inequality exist within the professional art world? Do you think that artists are 'held back' within some professional circles of the art world (including the realm of art museums) due to gender, race, or economic/social background? If so, how widespread is this problem of inequality -- and what can we do to spur change?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Just received this invitation:
Join us for a Webinar on May 30
Space is limited.
Reserve your Webinar seat now at:
https://djd90594.infusionsoft. com/app/form/smartist-webinar
Besides being the #3 social media network in the US, Pinterest has taken the online marketing world by storm - by it's simplicity, popularity, and visual wonder. Join us for a 1 hour complimentary training on how to use Pinterest for your art career.
Title: How To Use Pinterest For Your Art Career
Date: Wednesday, May 30, 2012
Time: 12:30 PM - 1:30 PM EDT
After registering you will receive a confirmation email containing information about joining the Webinar.
Wishing you continued creative flow,
Ariane
A. Goodwin, Ed.D.
Founder, Organizer, & Host
Does FASO have any information about Pinterest for it's artists? If yes, please direct me. Thank you, Marie Lynch
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1 point by mlynch 12 months ago Tags: | All Quotes by
1 point by bsherwin 12 months ago Tags: | All Quotes by
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Packing and shipping art can eat away at your profit. With that in mind, do you have any suggestions for cost effective ways to package art? Where do you obtain your shipping supplies? Feel free to offer a link to suppliers you use.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Packing and shipping can eat away at your profit. With that in mind, do you have any suggestions for cost effective ways to package art? Where do you obtain your shipping supplies? Feel free to offer a link to suppliers you use.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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I recently read an article that suggested that originality in art is over-rated. The same article suggested that reform is needed in copyright law to reflect this idea (which would limit the use of copyright protection). Point-blank, some people argue that originality does not exist because visual influences play a role in the creation of the art. I want to know what you think: Does originality exist? Can a work of art be truly original? If not, does that mean that we should be more open-minded about wide interpretations of fair use (think copyright law) in regard to appropriation art?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Do any of you meet regularly -- face-to-face (not online)-- with fellow artists in order to 'talk shop'? I know that some artists suggest that meeting with other artists to discuss art is a waste of time... BUT there is a historic foundation that says otherwise. Some of the most influential movements in art started with conversations within a cafe or bar setting. I think 'real world' connections like that can still have an impact today.
With the digital age in mind... I wonder how many artists find themselves in those face-to-face situations on a regularly basis. If you tend to enjoy a drink (coffee... or 'other')while discussing art with peers -- tell me about that experience. Do you meet regularly? Do those 'real world' conversations motivate you? Are you able to find the same kind of motivation online when chatting with fellow artists? Is there a difference?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Have you followed the protests involving the Sotheby's art handlers? If you have... you know that Occupy Wall Street (OWS) has shown them support. Various art groups that claim association with OWS have protested alongside the art handlers. Furthermore, the Sotheby's art handlers have received support from various NY based art blogs (the irony being that several of those art blogs offer unpaid internships... all while ranting about worker rights. One demands a minimum of 20 hours per week. Again -- unpaid. YIKES). I don't see said support slipping anytime soon... but I do think that a little transparency is needed when discussing the problem.
Articles about the Sotheby's art handlers lockout tend to only reveal the hardships of the art handlers union members OR the tactics used in protest. I have not read any -- and I just updated myself by reading over several -- that clearly state how much these union workers earn -- OR how much they earn compared to non-union art handlers in NY. I do know from research and contacts that the average non-union art handler in NY earns between $25,000 and $34,000 per year... and that some jobs pay as much as $30 an hour. I can only assume that union art handlers fair better than that. I, for one, want a better understanding of the situation... not just the tactics of protest... the entire pie -- I want to know how much they made leading up to the lockout AND how much they made compared to non-union art handlers in NY.
Perhaps someone reading this will have a better understanding of the situation -- and knowledge of specific facts that I've been unable to find. I do know that some individuals have argued that the art handlers should be paid more simply because they are handling million dollar works of art. I've read comments suggesting that the art handlers should get a "cut" of whatever is sold at auction. I'm not sure if I agree with that reasoning. I've had some tough jobs in my past (12 hour shifts, no vacation... you name it)... but I never felt that I should receive a huge "cut" of whatever is made.
Anyway... if you have followed the situation -- feel free to offer your thoughts. It does raise some questions about the inner workings of auction houses.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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I've noticed a trend in the news lately: artists being charged -- and held -- as if they have committed terrorist acts. Most of the situations I've read about involve public art that was technically placed illegally.
The most recent story involves artist / designer Takeshi Miyakawa. Miyakawa was arrested after setting up "I Love New York"-themed public art displays in Brooklyn. Police assumed that his work involved explosive devices. Areas near Miyakawa's public art installations -- involving plastic bags and batteries/devices that illuminated the work -- were evacuated.
Takeshi Miyakawa was charged with:
* two counts of first-degree reckless endangerment
* two counts of placing a false bomb or hazardous substance in the first degree
* two counts of placing a false bomb or hazardous substance in the second degree
* two counts of second-degree reckless endangerment
* two counts of second-degree criminal nuisance
Miyakawa (at the time of this writing) is still being held -- and questioned.
His story raises some questions: should his actions be observed as a potential threat to the public? Should we have sympathy for his plight even though his installations were placed illegally (in NYC... I assume he realized the risk)? Should artists -- specifically those exploring public art without authorization -- take responsibility by acknowledging the times in which we live -- and how the public may interpret their work beyond art? Who should take blame here -- the artist OR the law? Are these charges an abuse of current law? What do you think?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Do you have an opinion about graffiti or street art? Legal issues aside... what do you think about these art directions in general? Major US museums have started to really take notice of both directions. That said, I'm a little concerned about how the history is being documented/preserved. I question how legitimate said documentation/preservation is. It appears to be more about securing the art market than securing real art history.
I, for one, feel that there are ethnic/minority/social factors to consider when exploring graffiti or street art -- unfortunately, many of the graff/street artists praised by our museums happen to be white... and from comfortable social backgrounds (I know of one raised in what Money Magazine described as a 'Best Place to Live' -- and another... father was a doctor, mother a realtor). That sense of real struggle -- and the urgency of spreading a message -- that we associate with graff/street art appears (at least in my opinion) to be missing from their work. Point-blank, they chose to endure struggle... knowing that bail money would always be provided if needed. Again, that sense of urgency -- struggle -- is missing.
I fear that the real history is being re-written with the art market in mind. The 'voice of the street' promoted by some of our museums does NOT appear to be authentic. Do you have an opinion about this?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Have you followed any current art movements (Stuckism, Defastenism... other Remodernist art movements etc.)? Do you know of any that have had little to no exposure? Have you been involved with an art movement -- as a member or founder? In your opinion, what makes an art movement valid? Consider this an open thread about current art movements (I'm thinking of art movements established within the last decade or so).
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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For those of you who have small children: introduce your children to art early on. No excuses. That is where art education and art appreciation starts in my opinion. Consider this an open thread about early art education/appreciation -- feel free to share parenting tips involving art. :)
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1 point by bsherwin 12 months ago Tags: | All Quotes by
1 point by kaysoundafriart20 12 months ago Tags: | All Quotes by
1 point by kaysoundafriart20 12 months ago Tags: | All Quotes by
1 point by kaysoundafriart20 12 months ago Tags: | All Quotes by
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I know that some artists lose heart when nothing in the studio 'works'. Some feel as if they are playing with failure. They need to remember that an artist is only human... and we are far from perfect.
Think about it: when we look at the works of the 'greats' we (unless you really, really follow their career -- and it is well documented) tend to be looking at the best of the best of whatever they did. Who knows how many works ended up trashed or worked over -- who knows how many times they battled self-doubt over perceived failure.
There is a saying... "out of every 20 paintings only one will stand out" -- or something like that. Remember it. If something you are working on simply does not work... just know that you are taking whatever you learned from it to the next canvas, lump of clay, or whatever you use. There are no failures in that sense... it is an ongoing process.
With the above in mind, do you have any suggestions for artists who feel 'trapped' by failure in the studio?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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Have you ever faced art censorship while exhibiting at a gallery or other exhibit space? How did you handle the situation? Did you protest the censorship -- OR did you simply 'walk away'? What did you learn from the experience?
For those of you who have not experienced art censorship directly: What do you think about art censorship in general? Is the censorship of art (when on public display) acceptable depending on the circumstances? Is it -- no matter the circumstances... no matter who is offended -- an 'attack' on basic concepts of liberty?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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Why do you explore artistic creation as you do? What factors pointed you in the art direction that you have embraced? Think back on those early influences -- tell us about those early inspirations / motivations -- that helped to make you the artist you are today.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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I've read a number of articles about artist Thomas Kinkade's autopsy. A few articles state that Kinkade had traces of green paint under his nails -- and that traces of paint were found in his stomach as well. I can't verify how legitimate this information is... BUT it has made me think about art and health regarding the use of art supplies.
Artists are at risk of digesting (by accident) the materials used for creating art. Point-blank, if you consume food or beverages (or smoke) while in your studio space -- specifically while working -- there is a huge chance that you have consumed traces of the materials you use to create art. This scenario can be extremely harmful to your health depending on the materials used.
There are dozens of art organizations that warn artists not to eat, drink or smoke while in the art studio. A few go as far as to suggest not brewing coffee in your studio space. With all of this in mind... do you consider these factors? Do you take the needed steps to protect your health while creating art? How much do you know about the art supplies you use?
Consider this an open thread about art and health.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Over the years I've seen 'outsider artists' and 'outsider art' defined in different ways. Some suggest that an outsider artist can only be an artist who has no formal training in art -- while others suggest that formal training is "OK"... unless the artist has an MFA. Some suggest that fine art can't be considered 'outsider art' -- while others disagree. Point-blank, the use of 'Outsider Art' has spread far beyond the historical roots of the description. It has also become a selling-point for branding and art marketing. With all of this in mind... what is your definition of an outsider artist? What is outsider art in your opinion?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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I have a few questions for those of you who focus on portrait painting. What are your favorite and least favorite parts of painting a portrait? For example, do you have trouble painting hands if hands are included in the portrait? What steps do you take to improve on specific features that you have had difficulty painting? Feel free to share any suggestion you have for portrait painting in general.
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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When it comes to offering some form of discount for your art -- or creating a smaller series that is more affordable compared to your larger works -- do you worry about upsetting past art collectors? If your past collectors are not sustaining your market today (have not purchased work from you in years) should you be concerned with how they may feel if you open yourself to a new base of collectors by offering affordable art?
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1 point by bsherwin 11 months ago Tags: | All Quotes by
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I've been thinking about Professor Randy Norris a lot lately. He was one of the first people to notice that I had a knack for art criticism / writing. He was a strong character -- he had this strange mix of grit and charm about him. His personality came out during art critiques... he didn't hold anything back. In that sense, he was a good role model to have -- at least for me.
He taught me, by example, that it is OK to have strong opinions concerning art... that it is acceptable to 'burn bridges', if needed, if you believe in something. He and I clashed often over opinions concerning art -- but at the end of the day there was mutual respect. Randy is no longer with us... but his impact lives on. I think of him... and wonder if I will leave a legacy when I'm gone. I do think that it is vital to leave an impact from one generation to the next.
Tell me about your art influences -- did a specific person impact your love for art?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Art critic Charlie Finch recently implied that the high dollar value of a specific work of art can influence our 'love' for the work. I interpret that as meaning the influence of money can be a deciding factor in how we appreciate art. What do you think? Do you think the 'money influence' impacts how we, as a society, appreciate art in general? Would works by Warhol and others still be relevant today if big money was not involved? Would New York be relevant within the wider world of art if the money factor were removed? Can relevance be manipulated by financial transactions within the art world / art market? Does the monetary value of art impact how we value art overall?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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An artist recently contacted me about what she described as 'studio secrets'. She was concerned by the number of artists (she feels) keeps methods of creating art to themselves rather than sharing with others. I can understand why an artist would be wary of sharing something that he or she has developed after years of experimentation with various methods of creating art. At the same time, I understand the need to share ideas -- those exchanges can be important. What do you think? Should you share art methods with other artists? OR... should you guard your 'secrets'?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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I'm certain that most artists have endured some form of 'down time' -- feeling inadequate in skill, or what have you. It can happen to an artist no matter what he or she has accomplished in the past. With that in mind, do you have any tips for becoming a more confident artist? How do you pull yourself out of this type of 'rut'?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
1 point by bsherwin 12 months ago Tags: | All Quotes by
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I recently read about how the Obama administration is planning a two year initiative involving improvements in arts education. The initiative will focus on eight troubled schools at first -- and will have support from celebrity actors and artists. The administration wants to research what studies have already shown -- that arts education, in general, reduces dropout rates and can help improve education 'climate' overall.
I support this. That said, I don't think the Obama administration should call on just celebrities for help. I'm certain that many of you would be willing to help promote the arts in schools if you had the opportunity. That said, I know artists who have, for example, offered free after school workshops only to end up being refused. With all of the regulations that exist today it can be difficult for even the best of intentions to get off the ground.
With all of this mind, how can you help improve art education in schools near you? Do you have any experiences that you would like to share? Have you donated to art classrooms -- be it in the form of money or art supplies?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
1 point by GayleFaucetteWisbon 12 months ago Tags: | All Quotes by
1 point by GayleFaucetteWisbon 12 months ago Tags: | All Quotes by
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I recently read about artist Molly Crabapple's use of Kickstarter.com. Her project goal was set at $4,500 -- in the end... over $25,000 was raised. I'm interested in knowing -- have any of you used Kickstarter in order to help fund art projects? If so, tell us about the experience. If not... is it something you would consider exploring as a funding option?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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I recently read an article on Barron's that implied that the value of specific works of art -- as in famous works of art that are worth millions -- is rooted in the investments that wealthy individuals have made in those specific works. In other words, by treating art as 'stock' -- wealthy individuals have directly or indirectly helped to 'cultivate' the idea that specific works of art are of great value overall... both financially and culturally. What do you think? Do financial transactions within the high profile circles of the art world impact how we -- the wider public -- appreciate art? Do these exchanges influence our 'taste' -- and how we view art in general?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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What does success in art mean to you? What factors play a role in your view of success in art? Is success in art determined by level of skill? Perhaps money earned is a factor? What about public reach? How do you define success in art?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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How often do you visit art museums or art galleries (not including exhibits that you are involved with)? I ask this question because some art writers suggest that viewing art online is of little value -- yet the average person will only visit an art museum (or art gallery) a few times (if at all) throughout his or her life. Point-blank -- I would suggest that the average person is more apt to view art online than in person.
Viewing art online may not be the same level of experience (that can be debated from one viewer to the next)... but the experience -- in itself -- is better, for society and culture, than nothing. In my opinion, the Internet has strengthened art appreciation overall. More people are 'turned on' to art today than ever before -- all because of the Internet. The art community should appreciate that. What say you?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Life can throw a cog in your art making machine. A shift change at work, illness or injury, family obligations... etc. -- ALL these things can keep you out of your art studio. These distractions -- good or bad -- can keep you from the routine of nurturing your artistic practice. When these situations arise... how do you maintain your creative exploration? Feel free to offer any tips that you have -- how do YOU explore (or should I say 'feed'?)your creativity when studio time is not an option?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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A recent post by artist Joanne Mattera kicked up the dust of a long debated topic. That being -- should an artist donate to a charity event if no profit is involved? I know that a few writers have discussed this issue on FineArtViews. Some feel that it is a waste of time... while others feel that donating art to specific causes can generate contacts -- or that it 'looks good' on your artist resume.
My thoughts:
* Depending on the situation... I do think that donating art can help you to build rapport with organizers -- which may result in other opportunities. However, that can be a gamble. I've known my fair share of artists who never hear back from charity organizers... aside from being asked for more free artwork.
* As for 'looking good' on your artist resume / website. I'm not sure if I agree with that reason. Point-blank --I don't think an art collector is going to buy your artwork just because he or she notices that you have donated to a cause that he or she supports. If the collector truly enjoys your work... he or she will purchase it no matter what you've donated to.
The problem with donating art is that you can make a career out of it easily... a career that involve no gain other than feeling good about your charitable spirit. That may be noble -- but you have expenses to think about. I would have a different opinion if laws were changed so that artists can benefit from tax breaks.
What do you think? Should you, the artist, say "No" to charity events if there is no financial compensation to be gained? Is it simply not worth your time? Feel free to share your experiences.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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The Daily Beast recently ranked Fine Arts as the #1 'useless college major' on a list of thirteen (See, http://www.thedailybeast.com/galleries/2012/04/23/the-13-most-useless-majors-from-philosophy-to-journalism.html#slide2). The 'useless college major' list included music, English literature, and philosophy. This combination did not sit well with art critic Blake Gopnik. Gopnik responded to the list by stating, "It seems pretty clear to me that, across history, many of the people who made the biggest difference had training in the most useless professions. Aristotle, anyone?". He also suggested that income potential should not be the biggest factor in deciding the value of a college major. What do you think?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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I keep reading how it's a good thing to comment on other's blog posts. You can leave a link back to your own website along with your comment. I see a lot more activity on larger blogs than I do on individual artist's blogs. I think we are all missing a good opportunity for exposure by not doing this.
So, feel free to post a link to your art blog and see if we can get some conversations going to support our fellow artists, as well as getting some exposure for our own sites. Here is a link to some recent FASO blog posts to help you get started.
http://faso.com/art-marketing-newsletter/blogs/
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1 point by GayleFaucetteWisbon 13 months ago Tags: | All Quotes by
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ArtPrize was ridiculed by the mainstream art world from the get-go. Trust me on this -- I was an early supporter. Almost every art writer I know of -- specifically in NY circles -- knocked it at first. Now ArtPrize has 'landed' art critic Jerry Saltz as a juror... and have had high traffic NY art blogs, Hyperallergic included, backing them for nearly two years. Interesting. Does this mean ArtPrize has validation now (at least the NY variety of validation)? OR can acceptance be bought?
I'm fascinated by the reach that ArtPrize has gained in the last two years -- especially when I think back on all the early criticism against the event. I can remember all of the 'public is stupid' rhetoric coming from some circles of the art world. Today... some of those same circles appear to be embracing the spirit of ArtPrize. That shift in opinion is of extreme interest to me -- though I do wonder how authentic it is.
When I interviewed Rick DeVos (the founder of ArtPrize) for FineArtViews ( http://faso.com/fineartviews/32107/fineartviews-interview-rick-devos-founder-of-artprize ) -- he made it clear that some art world 'insiders' are not comfortable with specific aspects of the competition. He also stated, "I wouldn't completely rule taking or duplicating at least elements of ArtPrize elsewhere." when I asked if ArtPrize would take place in other cities. It would be interesting to see if that happens in NY... and to see what kind of art would dominate the event.
There are some contradictions to think about when exploring mainstream NY art world acceptance of ArtPrize. I will discuss that soon on FineArtViews.
Has ArtPrize received mainstream NY art world validation? What do you think? If so, what does that mean for art -- and for artists who are 'outside' of the NY art scene?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Do you have experience starting an artist collective? If so, can you share some of your experience? Did the experience benefit you as an artist and marketer? What do artists need to consider before making their collective a reality? Share what you know...
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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The 50/50 split has become a staple of artist / dealer relationships. One could say that the arrangement is a standard within the gallery world. After all, art galleries -- no matter location -- tend to follow the 50/50 split business model. I'm curious to know what YOU think about this arrangement. Is it fair for both individuals? Do you have any concerns about this specific arrangement? I know that some individuals within the FASO community have been on both sides of this split at one point or the other -- what are your thoughts? Keep it civil.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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When we think of art exhibitions we often think of large cities (Chicago, New York, Miami.. etc.) -- those locations tend to be where 'dream exhibits' take place. The lure of exhibiting at a big city art gallery is deeply embedded in our conscious. We tend to want those exhibits -- that is where the money is at, right? That is where fame is earned, right? If you can make it 'there' you can make it 'anywhere', right? Maybe. I can't help but think that the majority of artists miss out on specific marketing angles... simply because they have their eyes set on big city 'dreams'.
I think that artists need to think more about the 'anywhere'... and less about the big 'dream' of exhibiting in a major city. After all, there is another side to exhibiting art -- a side beyond the big city art galleries -- and it takes place in small towns / cities throughout the United States. Some of those gallery scenes, though small, are extremely active. In my opinion, seeking those small gems out is better than waiting for the 'golden gallery' doors to open. Those doors may never open -- you may never 'land' that big city exhibit. Even if you do... you'll likely find that it was not the end all, be all of your exhibit experiences. Point-blank -- don't miss out on opportunities that may be available to you now. Dream if you must... but stay in the 'here and now'.
With the above in mind, I want to know if you have any suggestions for exhibiting in small towns / small cities. Feel free to offer a list of art galleries that are not located in a major city -- provide a general location and a website link if available. Tell us about the experiences you have had exhibiting in small towns / cities... I'm willing to bet that most of you don't regret those experiences.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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An individual recently suggested to me on Twitter that museums should only focus on artwork that has high monetary value, created by an artist with a proven track record of sold art. In other words, the value of the museum collection -- in his opinion -- is of more importance than the cultural / social significance of the art. I don't agree with that. After all, some of the most expensive art in the world is barely a blip in regards to public acknowledgement.
With the mentality of the individual mentioned above, a work of art that inspires the masses has little to no value unless it also involves a top dollar price tag. One could suggest that some of our museums are already maintained that way -- especially when you have former high profile art dealers at the helm. In my opinion, we should move away from that. We should desire more than big art market politics, if you will, dictating what we should 'like' and why. We should expect more from our art museums. This is our history... our visual history.
I, for one, think that museums should be preserving culturally/socially significant artwork -- and seeking it out -- regardless of how much money is involved. In other words, the sales history of an artist (or art dealer for that matter) should not dictate the direction of our museums (I say "our museums" because most of them DO receive some for of government funding). The focus on money (and select circles of the gallery world -- mostly in NY) has created a system of exclusion... in my opinion -- that robs the public... and goes against what a museum should stand for.
What do you think? What should our museums be looking for when it comes to current directions in art?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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I recently read a quote by Ben Folds that sparked my interest. Folds suggested that art is just as important to the general public as food -- and should be funded as seriously as programs that provide food for those in need. In a sense, Folds is suggesting that 'food for thought' (art, music...etc.) is just as important to the human spirit as having a full stomach. I know people -- including artists -- who disagree with this view. In fact, it is not that hard to find artists who feel that the government should 'stay out of art'.
What do you think? Should art be funded more than it already is by the government? Should art be considered a necessity for all government-wise -- to the point that the burden of expense falls more heavily on tax payers? Who decides which art is the most 'filling' for the public? There has long been debate about what the public 'likes' art-wise compared to what the so-called art establishment supports with government grants -- what role does that debate play in this? If government art funding is increased... should tax payers have more of a say in how art is 'brought to the table'?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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I just found out that Kathryn Born, interviewed by FineArtViews in 2011, has pulled the plug on Chicago Art Magazine. Funding appears to have been a major reason for the demise. As Born has pointed out -- Chicago art galleries have become notorious for not supporting local art-focused media. The same could be said of other art gallery scenes across the US. It begs the question -- should art galleries do more to support local art-focused media?
Some art galleries pay several thousand dollars per year just to nab small ad spaces within major print art magazines. Those magazines are often based in -- and focus on -- other art communities. In other words, galleries are paying top dollar in the hope of being acknowledged by a readership that most likely does not care about their 'chunk' of the art world. Even if they do care -- it is doubtful that they will make a trip for the exhibit. The irony being that specific gallery scenes -- including the Chicago gallery scene -- tend to complain about not receiving media coverage OR lack of gallery visitors. Perhaps it would help if they would place some focus on local media.
In my opinion, those same art galleries could receive a lot of exposure -- at a fraction of the cost -- simply by showing a little support to local art-focused media (especially if the source has an online focus). What do you think? Should art galleries be more supportive of local media in general?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Do you have trouble writing an artist statement? Why do you find it difficult? Are you 'bad' at expressing yourself in writing -- OR do you simply not know what to say? I've known my share of artists who dread writing them. Let us see if we can isolate some of the biggest concerns... and offer advice from there.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Have you self-published a book about your art? If so, do you have any advice for artists who have considered doing the same? How many images did your book contain? Would you advise including text about your art and studio practice -- or just stick to images and general information about them? How do you use the book to market your art further? Feel free to suggest specific self-publishing companies or approaches that have worked for you.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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Do you think the public should have more of say concerning museums that receive government funding?
Do you think the public should have more of say concerning state-funded, public-serving museums? What about other types of museums that still receive some form of government assistance? For example, should the public have a say about art acquired by museums? Should the public have a say in the direction of curatorial choices at museums? Furthermore, should there be more initiatives that focus on regional art scenes in areas surrounding where the museum is located (obviously that depends on the type of museum)? Again, I'm thinking of museums -- in general -- that receive any form of government funding.
I realize that some museums receive very little from government funding compared to their overall budget. That said, we have museums that receive approx. $100,000 to $200,000 per year from grants. True, that money is 'small' compared to their multi-million dollar budgets. Still... they are receiving money that the public provides. With that in mind, should the public have more of a say? If so, how would that 'say' be implemented? Should that money be used on museums that are more 'open' about art that is not embedded within the mainstream art market?
We know that some museums can be rather one-sided in selections of current art. We know that some museums -- due to directors who are former art dealers / collectors -- have issues with conflicts of interest. We know that some museums have become an addition to the art market -- where investment is preserved over cultural importance. Should the public -- if the museum is receiving government support -- demand more from these institutions? If this were to happen -- do you think it would spur more opportunities for artists 'outside' of the high profile circles of the art world? Let me know what you think.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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We all know that with having our art on the internet, comes the risk of having it stolen or used in some way we don't approve of. Have any of you found your art offered for sale on sites you didn't authorize, such as painting factories, ebay, painting classes, etc. This seems to be out of control and artists are upset, rightfully so. Some of these people are obviously making lots of money from other artist's work.
Do you all have any experiences to share? What can be done?
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1 point by GayleFaucetteWisbon 13 months ago Tags: | All Quotes by
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When viewing artwork... which do you prefer? Viewing artwork that impacts you on a basic level OR artwork that 'kicks you in the gut', as in, forces you to think about social issues? In other words, do you desire artwork that leaves you walking away with a smile... OR artwork that leaves you thinking about the challenges we face? There is no wrong answer.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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This is what I want to know: if strength of artistic skill decides if you are an artist or not... well, how high is that bar raised? What is the measure to go by? At what point do you go from being 'just a painter' to being an artist? Do we really want solid 'requirements'? If requirements are desired... what would those 'artist requirements' be?
The 'skill argument' has been popping up in debates about the late Thomas Kinkade. Needless to say, the 'skill argument' (when deciding if someone is/was an artist or not) can get ugly fast. For example, was Jean-Michel Basquiat skilled? Or did he just express ideas in a visual way that specific people enjoyed? If another artist has 'better' skills... does that mean Basquiat was less of an artist? Was he just a 'writer', painter, what have you? You can say that Kinkade was 'not an artist' all damn day -- but that same charge could be made of countless artists we know and love.
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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The death of artist Thomas Kinkade has spurred debate about what it means to be an artist compared to 'just a marketer'. In fact, some individuals have suggested that Kinkade was not an artist and that, if anything, he was 'just a painter' who 'mastered marketing'. It is ironic to see individuals close to the art market (in general) talk as if marketing is something 'bad' -- OR talk as if making money is 'bad'. I, for one, think that an individual can be both... an artist AND a marketer. Furthermore, if you can make money with your artwork... do it.
What do you think about this? Is an artist less of an artist just because he or she finds a foothold market-wise? Is the artist less of an artist if he or she caters to specific directions -- as in, sticks to a formula that he or she knows will result in profit? Is that really so 'bad'? Thomas Kinkade definitely had a marketing/creation 'formula' that worked for him... so did Warhol. I don't think we can criticize Kinkade for that unless we criticize others who obviously knew how to 'pitch' their images. What say you?
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1 point by bsherwin 12 months ago Tags: | All Quotes by
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When it comes to political art... does mere agreement -- or disagreement -- with the theme decide if the artwork is 'good' or 'bad'? Think of your favorite artist... if he or she suddenly did a work of art critical of your political preference -- in the same style that you love in his or her other works -- would you say it is 'bad' art just because it goes against the grain of your opinions? Is the art worth less if you don't agree with what it is 'saying'? Is the merit of the art itself -- from a technical standpoint -- not a consideration if the political 'message' of the art is one that you can't agree with? Can you enjoy a work of art -- technically or otherwise -- even if you don't agree with the 'message'? I want to know your thoughts.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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If you follow art world buzz you have probably read about Morley Safer's second wave of criticism concerning the contemporary art market. To put it mildly, Safer feels that the contemporary art market is a sham -- and a 'playground' for the rich. Safer observed Russian heiress Maria Baibakova -- who admitted that $4.8 million for a Gerhard Richter abstract painting was "a bargain,". Safer replied (in voice-over), "Certainly a bargain if your daddy's a billlionaire and you're playing in a market where there are no rules.". What do you think? Do you think artwork within the mainstream contemporary art market is priced ridiculously high?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
1 point by bsherwin 13 months ago Tags: | All Quotes by
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One thing that annoys me -- the whole, 'the public is dumb' mentality shared by so many art 'professionals'... some of them imply that, all while grasping for public funding. They say it is a disservice to the public if tax supported art funding is pulled -- isn't it a disservice to the public to... um... call the public 'stupid'? Isn't it a disservice to assume that only a select few have a clue about what art can, and should, be? I suppose I have more faith in the masses compared to your average art writer. After all, it is not that uncommon for the public to be 'right' about an artists before the big time gallery world takes notice (Thank you Internet).
Perhaps the majority of people don't 'get' specific works of art because there is nothing to 'get' -- which results in some art world 'insiders' questioning our intelligence simply because they have failed to convince us that we should 'get it'. Food for mainstream art world thought.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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I think it is safe to suggest that every artist will experience an artistic / creative slump at some point. This is what I want to know: When faced an artistic / creative slump... how do YOU pull yourself out it? What steps do you take to make the creation of art enjoyable again? How do you ward off being 'burned out'? Share your advice and experiences.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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I've been thinking a lot about art and taxes lately. It can be hard to find good information online about the subject. In fact, most variants of the searches I've made result in article after article about artist Ai WeiWei dodging taxes in China OR the troubles artist Odd Nerdrum has had with taxes. I know that many artists are confused about taxes involving the business side of art. If you know of a good source for tax information regarding artists... offer a link. Better yet, share your experience.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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I recently debated about this topic -- so I felt it may be of interest here. Should art galleries have insurance on displayed artwork? Should you, the artist, ask the gallery if artwork is protected by insurance if stolen, damaged, or lost in transit while in the care of the gallery? OR should the artist be responsible for insuring his or her art?
My thoughts: I realize that many art galleries don't insure the art they display... just as I know that many cut that corner even when the economy is good. If the gallery is on top of things -- it will have insurance on the artwork displayed and on property in transit when artwork is sold and shipped. In my opinion, these are some of the questions artists should ask upfront -- and decide from there.
With the above in mind, (and I'm going off of information that is a few years old) it should only cost around $2 annually per $1000 of coverage to insure art... depending on the policy. That is $10 annually for a $5,000 work of art. Chump change considering the alternative. Your average gallery probably spends more than that per year on coffee for staff.
With the above in mind, I suppose someone will say that insurance on art should be the responsibility of the artist. Fair enough. However, the artist is not the one running the gallery-side of the business. If I owned a small store I promise you that I would have my merchandise insured. It just makes business-sense to me. Why should art galleries think differently? If a pawn shop owner can insure aspects of his or her business... a gallery SHOULD be capable to insure art. Food for thought.
There are insurance companies that focus on gallery coverage. There are ways to cut costs on gallery insurance as well -- for example, have a security system. "Um... sorry, your work vanished and we are not able to compensate you" is not good enough in my opinion.
In addition to the above, the gallery is leaving itself open to a potential lawsuit when, and if, artwork 'vanishes' (referring to numerous stories I've heard over the years about lost art work at galleries) or is stolen. (If work 'vanishes' the gallery might consider... how do I put this -- calling the police.).
I, for one, think that a gallery should offer more than excuses if artwork is lost or stolen.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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The following questions are for those of you who like to dabble with material experimentation. Have any of your experiments failed... as in, horribly? What was the 'recipe' for disaster? What has worked for you (or is that info a tightly guarded secret)? I'm thinking of painting as the focus... but feel free to comment on other forms of art that you have experimented with material-wise.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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Does your art have a message? As in, is there something specific that you are addressing with your artwork in general? OR is the creation itself the message? I know that some artists do embrace a strong political / social message with their artwork -- so much so that one could suggest that they are on a mission. On the other hand, I also realize that some artists don't have a mission, if you will. They don't have a specific message that they are hoping to address to the world with their artwork -- their 'mission', if anything, is simply to create art that people will enjoy... no matter the subject or theme. What about YOU? What is the message of your art?
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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With your personal art marketing efforts in mind -- do you follow art market trends? In other words, do you attempt to adapt your studio practice based on whatever is trending within the art market (be it local or global)? For example, do you start creating paintings of dogs if that subject becomes 'hot' within your local art community? OR do you keep doing what you want to do... without consideration for what is trending?
Creating art with the art market trends in mind is not necessarily a 'bad' thing. Point blank -- I don't automatically 'look down' on an artist for taking that path. I know artists who are dedicated to their personal work... but also create work that 'fits' within their local market for art. More power to them if they can keep money rolling in while exploring outside of the box, so to speak. That said, it can be a balancing act -- and it is not for everyone.
With the above in mind -- I want to know what you think. Do you follow art market trends when creating art? Do you 'look down' on artists who choose to do so? Where do you stand on using trends as part of your art marketing efforts?
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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I've offered advice on this question before on FAV -- such as using your full name instead of just first and last (even then you may have an uphill battle online). That said, I'm interested in knowing what others would advise. What would you do if you shared the same first and last name as an artist who is just a tad more known than you? Would you be concerned about branding problems? Would you consider using an alias? I can see how it would be a major cog in your art marketing / art branding machine (at least online).
My guess is that this problem is not that common -- but it does occur. For example, I'd face the same problem if I decided to work in film/tv. For the record -- I have nothing to do with iCarly. I'm not 'that' Brian Sherwin. Thank God. ;p
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Online art classes have become popular in recent years (Note: I'm not talking about those 'you can earn a degree now' type ventures). In fact, some colleges offer art programs that are almost entirely based online. Others, Goddard College for example, go a step further by offering art mentorship at a distance. These online art classes tend to be 'big' on independent study. That said, I can't help but think that something is 'lost' with this approach.
There is nothing wrong with working independently as an art student. With that in mind, the studio environment itself -- meeting and growing alongside fellow art students -- was one of my fondest memories of college. In my opinion, that environment is a huge part of the value of higher education in art. With online classes those experiences are 'disconnected', if you will. I'm certain that approach works well for some -- but I think the physical environment is important (at least for younger artists who are still 'discovering' their direction). Point blank -- I fail to see how the virtual environment of online art education (studio-wise) can replicate those 'real' studio experiences.
What do you think about online art classes and online art education in general? Have you participated in this form of online study? What was it like? Do you think the approach hampered your development as an artist -- OR do you think your development would have been hampered had you studied in a physical location with others? Some of these programs cost nearly as much as attending class physically... I'm just wondering if it is worth the price and the sacrifice of physical studio bonds. Again, what do you think?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Can business decals on the back window of your car help you to market your art? An artist I spoke with recently thinks so. He claims that his artist website received a boost in traffic after he placed a personalized window decal featuring his website on the back window of his car. He noted that several art buyers told him outright that they learned of his art and artist website by observing his car near a Chicago art gallery.
I know that some people feel that promotion like this is "tacky". That said, it worked for him. In addition to that, marketing decals are of more use today due to how connected people are online -- be it on their cell phone or laptop -- while 'out and about'. You never know -- someone walking by may do a search after viewing the decal. Tacky or not... there is potential to spur interest in your artwork and website. (Not to mention that it could serve as additional promotion if, for example, you are parked near an art fair or other big art event that you are involved with).
What do you think about this art marketing tactic? Have you tried this form of art marketing? Do you think it is "tacky" even if it leads to sold work?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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I'm interested in knowing where this community stands on the issue. Do you provide any form of documentation when an artwork is sold? If not, should you? Have you ever been asked to provide a certificate of authenticity when your original artwork is sold? For those who do provide one... what should be included? Why do you provide one? Do you offer it out of copyright infringement concerns (protecting your market today just in case forgers go after your work tomorrow?) - OR does it just make 'business sense' to you? Share your thoughts.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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If you could help re-write copyright law... how would you go about it? What would you want to see added OR removed? Do you think that US copyright law is restrictive at this time -- OR do you like it just the way it is? What is the upside and downside of current copyright law in your opinion?
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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Have any of you opened (or helped to open) an art gallery? Perhaps it was a co-op gallery founded among friends -- OR a gallery that featured only your work. Feel free to share your advice if you have had experience opening a brick & mortar gallery space . What do people need to think about before finding a space? Were you able to find a working balance between the art studio and art gallery? Could this be an option for an artist who has been unable to find gallery representation (and has the funding to explore such an endeavor)? Share your thoughts.
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1 point by bsherwin 13 months ago Tags: | All Quotes by
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I see that in the contests that most popular paintings are rated by Facebook likes. at 70 I am new to this social media stuff and getting friends. Is this like a Google search thing where you make submissions to a directory or? Or does this qualify as the dumbest question od 2012.
Thanks in advance,
Jim moyer
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1 point by jimmoyer 14 months ago Tags: | All Quotes by
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An artist friend of mine recently suggested that originality in art is directly linked to high intelligence. Point blank, she feels that an individual with a high IQ is more apt to create artwork that stands out. I can't say that I agree with her -- I don't think the strengths of originality can be so easily packaged. That said, the debate spurred some interesting questions: Can you learn to be original? Is originality learned -- or is it 'inborn'? What do you think?
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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I always enjoy reading responses about life changing experiences involving art. Have you ever viewed a work of art (be it a painting or sculpture... any form of art) that changed the way you view life OR offered you a better understanding of how you interpret life in general? Can you think of a specific work of art that impacted you emotionally? Have you ever had an experience with a work of art so strong that you feel it helped to define who you are as an individual? Perhaps you have viewed a work of art that forced you to view the world differently? Share your experiences -- and feel free to 'name drop' if you desire to point to a specific artist... and explain how his or her artwork has impacted you as a viewer.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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It can be hard to remain creative when faced with all of the challenges of living today. From rising gas prices... to just trying to keep a roof over your head -- the little things can all add up... and drain the creative spirit. That stress can be 10 fold if you are responsible for others -- a spouse, children and so on. With all of this in mind -- how do you find a balance? How do YOU remain creativity active, so to speak, while tackling everything else?
Furthermore, can you describe how you feel when you are unable to adequately explore your creative side by creating artwork? Do you notice a change in mood -- do the other 'little things' seem worse when you are unable to explore your creativity? Offer only what you are comfortable adding to the discussion. (I may end up quoting a few people for an upcoming FineArtViews article)
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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I was recently asked what an artist should do if he or she discovers that another local artist works in a similar manner -- as in exploring similar subject matter in a style that is close to the same as well. The artist (currently facing this scenario in a small community) was concerned that the similar approach would spark confusion among local gallery-goers. He wanted to know if he should start exploring new themes -- or do something else to "mix it up a bit".
The artist stressed that he felt the other artist had developed independently. In other words, he did not feel that the artist is a 'copy cat'(Note: you can't copyright artistic style anyway -- only specific works of art). I told him to press on with his work -- and if possible, have more art exhibits than the competition. He replied stating that he did not want a rivalry to take shape. Point blank -- he was willing to change his entire approach to art rather than risk spurring potential conflict with the other artist.
Honestly, I was not sure what to say after that response -- he gave me the impression that he would change his approach every time he discovered someone working in a similar manner. With that attitude he might as well kiss branding his art goodbye. Changing artistic direction for personal growth / experimentation is one thing... changing direction out of concern over what another artist is doing is an entirely different issue.
What do you think? What would you do in a situation like that? Would you change your artistic direction -- or would you stick to your guns?
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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I'm thinking in terms of experimental art -- as in, exploring unorthodox art materials. If experimentation -- material-wise -- is an important part of your art process... should you let potential buyers know that the materials used to create the artwork may -- or may not -- remain 'stable' as years pass? OR do you wait to see for yourself if everything holds together? I've seen the downside of experimental work of this nature... and it always makes me wonder if the buyer had any clue about the process and problems that may arise.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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I'm curious to know if any of you have used Kickstarter or a similar service online in order to raise funding for an art project. If so, share your experiences.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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Perhaps I'm just hard to please... but most of the movies I've watched about the life of an artist are horribly disappointing. I can handle a few historic inaccuracies as I understand it is all about entertainment. That said, Surviving Picasso and Modigliani left me feeling 'blah'. Pollock was OK. Consider this an open thread focused on movies about artists -- and by all means, make art-related movie suggestions.
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1 point by bsherwin 14 months ago Tags: | All Quotes by
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If you have an artist fan/business page on Facebook, you probably know by now that the new Timeline is available. What do you think about it? Do you have any unique ideas for customizing yours? How will you use it to promote your art?
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2 points by GayleFaucetteWisbon 14 months ago Tags: | All Quotes by
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I recently read about a company that teaches artists how to set up a business based on private art lessons (Will likely share the company name once I know for certain it is legitimate). Needless to say -- the article spurred my curiosity.
How many of you have taught private art lessons -- or art workshops for that matter? Do you have any suggestions -- business-wise? Was the experience rewarding? This company suggests that any artist can teach art lessons -- do you agree with that attitude? (Note: I don't agree with the statement -- depends on the individual in my opinion). Feel free to share your knowledge and experience.
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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Artists -- do you view creating artwork as an 'escape' from the 'real world'? I ask because I realize that for many artists it is just that -- but at the same time... there are so many artist dealing with social issues within the context of their work today. For those artists -- do you still feel a relaxing quality, if you will, when creating art? OR are you always on edge when in the studio due to the issues you explore?
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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How many of you have had to switch from oils to acrylics due to health, child care or another reason? Was the transition difficult? Do you have any advice on making the transition? (By all means, if you have switched from acrylics to oils share your experience as well.)
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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It has come to my attention that some artists are annoyed by Pinterest... they view the ease of sharing -- 'pinning' -- images of art as a threat to artists. What say you? Should copyright law be followed so solidly that it prevents people from introducing others to the artists they admire? Furthermore, if Pinterest, the company, is to be lashed out at over copyright -- what about Google... and search engines in general? Perhaps it is time for copyright law to be modified further with the Internet in mind? Share your thoughts.
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2 points by bsherwin 15 months ago Tags: | All Quotes by
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Tell us about your most memorable art exhibit. What made the experience stand out? Note: I'm thinking on terms of art exhibits featuring your artwork -- but feel free to share with us if you have an experience involving a memorable art exhibit you attended as an art viewer.
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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I have to chuckle when I see fellow art writers (specifically writers who are close to the NY gallery scene) write as if the concept of marketing art online is something new. It is sad at the same time... because many of these writers are ignorant about the history of online art marketing.
Many appear to be under the impression that VIP Art Fair -- and a few others NY-based art sources -- spearheaded the concept of online art marketing. In other words, they often support the idea that art galleries lead the charge. We all know they are wrong... the idea of online art marketing has flourished because of artists -- specifically those who happen to be independent from brick & mortar galleries. That focus existed long before the likes of VIP Art Fair. Heck, it existed long before the top art magazines started to take the Internet more seriously.
It is interesting -- some circles of the 'high profile' NY art world start to accept this break from traditional art marketing angles... and suddenly writers who once scoffed at the idea embrace it as if they are the first to explore it. They insist that it is something that has developed in the last year or so. In other words, they tend to be ignorant of the fact that the history of online art marketing goes WAY back -- over a decade. For whatever reason... they can't grasp that artists -- mostly those independent from galleries AND outside of NYC -- lead the charge.
I have a question for those who embraced online art marketing early on... should we be concerned about the fact that some art world insiders are attempting to re-write the history of online art marketing -- a history that many of us helped shape? Does it matter? Or should we just see this ' NY insider' interest as validation of what we have been doing for so long?
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1 point by bsherwin 15 months ago Tags: | All Quotes by
1 point by bsherwin 15 months ago Tags: | All Quotes by
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What is the hardest choice you've had to make as an artist? Perhaps you have had to give up focusing on art in order to help raise a child? Maybe you had to give up using a medium that you prefer due to your health -- or health concerns of individuals close to you? Have you ever had to make a tough choice that involves your art practice in one way or the other? Tell us your story.
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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I think as an artist it is important to experiment in your medium as it helps you push your limits no matter how famous or how good you think you are. Recently I tried a new paper for my pastels Canson, and it is inexpensive! I normally do underpaintings using Uart paper and I love Lorenzo Chavez work so I knew he uses Canson and to be honest I was amazed at how well I liked my finished piece because the canson also took lots of pastel just layering and no underpainting.
Last those of you who paint in a medium that goes under glass... Do not let Galleries tell you that they just do not handle works under glass. If they are truly educated they will handle both paintings under glass and not. Remember Art is in the eyes of the beholder and in our case that is the customer "buyer"! So tht being said Galleries that make this statement are simply limiting their own market.
Cynthia A. Underwood Pastel Artist in "Best of Worldwide Charcoal, Pastel and Pencil"
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1 point by caunderwood 15 months ago Tags: | All Quotes by
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If you had a time machine... and could change something about your art career overall -- what would it be? For example, do you regret having not attended art school? Maybe you wish you did not have the debt from attending art school -- and wish you had used that money in other ways to support your art practice? Do you regret having turned down an art exhibit? Do you regret having not explored other art mediums? Do you have any art-related regrets?
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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I realize that many FASO artists are painters. That said, I'm interested in knowing how many of you draw on a routine basis. Years ago I tried to draw for at least 3 hours per day -- often broke up into several sessions. I still try to work in drawing time at present -- but I will admit that time constraints make it difficult to be as dedicated to drawing as I once was.
I assume that most would agree that drawing practice can improve painting. With that in mind, do you draw regularly? Would you like to be more dedicated to drawing? Do you agree that drawing practice makes you a better painter?
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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I'm interested in knowing if YOU have intentionally avoided gallery representation. In other words, do you feel that the marketing game has changed so much that an artist can take a 'care-free' approach to gallery representation in general? Do you actively seek gallery representation -- or is that goal on the back-burner compared to your self-driven art marketing efforts? If you have chosen to stay out of the rat race of finding representation feel free to tell us why AND what has worked for you.
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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What do YOU do when you start to doubt yourself as an artist? I'm certain that most have had doubt at one point or the other -- how do you get out of that negative slump? Do you make the experience of doubt and positive experience for your growth as an artist?
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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How far will you go to pursue your love of painting and passion for a creative lifestyle? When is it time to throw in the brushes or never give up and get involved at all cost?
I have been painting for the last 3 yrs. with passion and dedication, marketing and selling my art in stores and galleries, participating in various art show and fundraising events. I have sold many originals and prints but just never enough sales to get by and I keep having to jump on yet another private luxury yacht for a quick freelance chef gig to make ends meet. Although the yacht trips are a source of much needed good income and inspiration as I paint from my photos, what I want most of all is succeed as a financially successful fine artist. I was born an artist and it's what I do best but with this economy it's a challenge to stay afloat.
Danielle Perry
Fine Artist & Private Yacht Chef
www.danielleperryfineart.com
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1 point by sashelle 15 months ago Tags: | All Quotes by
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Painters... what do you do while waiting for the paint to dry? When a painting is near completion do you take a break from your studio practice -- or perhaps start another canvas? Do you experience 'down time' when a painting is finished? Do you work on one painting at a time -- or several? I'm curious to know the steps you take in your art studio when a painting is nearly finished -- or finished.
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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Tax time is fast approaching. Taxes and business go hand-in-hand... the same goes for the business of art if your art marketing efforts are paying off. Do you have any advice concerning art and taxes? Feel free to offer tax advice for artists -- OR point to resources where information on the subject can be found.
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1 point by bsherwin 15 months ago Tags: | All Quotes by
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I'm interested in knowing if any of you have used Kickstarter to help fund an art project. If so, how did you mesh it with your art marketing efforts in general? Share your experiences or opinions...
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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We all know that it is financially cheaper to stretch your own canvas -- you can simply get more bang for your buck compared to buying pre-stretched canvas. That said, I was recently involved in a debate on the topic -- and found that many artists feel that stretching canvas adds to the merit of the finished painting. In other words, they feel that the skill involved with stretching canvas places the artist on a 'higher level of professionalism' compared to artists who work upon a pre-stretched canvas. What do you think? Does it matter? Note: The majority of the artists who felt this way also felt that a painter should frame his or her own work. What do you think?
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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Have you read any books about art marketing lately? If so, tell us about it. Feel free to make art marketing book suggestions -- OR point to specific authors who write about the business of art. If you are working on a book about art marketing -- by all means, tell us about it...
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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With the demise of Myartspace.com I've been thinking a lot about how easily an artist can 'lose' the presence he or she has 'built' online by relying on social media/networking. Have you ever been involved with a social art site -- or other type of social networking site that 'called it quits'? Did the experience spur you to establish your own website? How did you jump back from the pitfall?
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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I'm a strong supporter of copyright. However, I can't agree with a bill that would destroy the online 'conversation' about art that we have come to know and love... along with the wider 'conversation' in general.
SOPA would make it hard for art bloggers -- most of whom don't have the protection that journalists enjoy --to write about exhibits... and criticize specific works of art with examples of the criticized images. For example, an artist would be able to exploit SOPA in order to have the blog shut down just because he or she does not like what the art blogger had to say about his or her artwork.
SOPA -- in its current form -- would spur a 'digital witch hunt'... it would give rise to a 'digital inquisition', if you will. It would 'kill' the online art world as we know it.
See, http://en.wikipedia.org/wiki/Stop_Online_Piracy_Act
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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I've been hearing a lot about Pinterest, so I just signed up to see what it's all about. It's an online pinboard and it seems like a fun place to share collections of things you like. It might be a good way to share your art with more people. For example, I just "pinned" one of my paintings to my pinboard called "For the Home". Clicking on the image will lead back to my website. If any other artists have joined, please feel free to share your experiences with it.
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1 point by GayleFaucetteWisbon 15 months ago Tags: | All Quotes by
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There has been a lot of buzz lately about artist resale rights. What are your thoughts on the issue? Do artists deserve to claim 5% or more when an art collector decides to profit off of his or her collection? For example, say you sold a painting early in your career for $100 and the painting is now appraised at $10,000 due to the scope of your career and success -- do you, the artist, deserve 5% of that $10,000 if it is sold? And every time it is sold after that? Some artists view this concept as a form of 'pension plan' for artists in general. What do you think?
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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What art blogs do you follow -- and why? Feel free to point to art blogs and specific art writers you enjoy. Tell us a little about the art blog -- and why it inspires you.
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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I read Brush Buzz faithfully as time allows, and often want to share good articles. I'm so untechie that I'm not even sure this will make sense, but my problem is that when I follow a link, this morning to a Huffington Post article, for example, the Http:// at the top stays with FASO. Sometimes I'll see something else, and follow it, and sometimes along the way want to share an article with someone else who might enjoy it. Since the url stays with FASO, when they click it goes back to the home and I can never get the actual http:// of the article I want. It's frustrating! Am I doing something wrong, or how do I get the url of the article I've followed from Brush Buzz to share it?
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1 point by joannsanborn 16 months ago Tags: | All Quotes by
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Hi fellow artists,
Since I'm doing research on galleries, artists, and collectors and what they want, it occurred to me that perhaps some of you are overwhelmed by all the info out there on ways to sell your artwork and market it.
Are there any topics which confuse you? Do you have a burning question about art marketing or sales that you would love to find the answer to? Now's your chance! I will try to answer questions as I can before leaving for Scottsdale (Jan 15-22), 2012.
Don't be shy... there are no stupid questions, and if I don't have an answer for you, someone else here might! Ask Away!
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1 point by lwsimons 16 months ago Tags: | All Quotes by
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I'm curious to know your thoughts about art movements, such as Stuckism, that are international in scope -- and tend to utilize the Internet in order to bring members together. Should the world of art historians and critics take these art movements more seriously? Why does it often seem that these movements are dismissed?
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1 point by bsherwin 16 months ago Tags: | All Quotes by
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I hadn't heard of this before and thought I would share it here. Under certain conditions in California, an artist is entitled to a 5% royalty of the resale amount of their art. There is also a list of artists who are due unclaimed royalties.
http://www.cac.ca.gov/artsinfo/resaleroyalty.php
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1 point by GayleFaucetteWisbon 16 months ago Tags: | All Quotes by
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A couple of days ago, one of my blogs went "viral" because many art marketing gurus retweeted the link to it. It was "YES, artists can lower their prices".
The fact is that not only are galleries lowering prices in order to make the sale, but many artists have gotten in touch with me to say when they lowered their prices a bit that sales started up again. Collectors are looking for price breaks on most middle priced works - between $1000 and $50,000.
Anyone out there lowered their prices recently and gotten more sales for doing so?
I'd love to hear from you. Anyone with prices between $2000 and $10,000 whose sales have slowed considerably? This seems to be a price range for galleries and artists where things are stagnant.
Please help everyone out by posting what's happening with you, so we can figure out what's actually working.
Sincerely,
Lori
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1 point by lwsimons 16 months ago Tags: | All Quotes by
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I've seen this discussed a few times, but I'm always interested to hear other's opinions. Do you sell reproductions of your art? Some artists have very strong opinions about this either way.
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1 point by GayleFaucetteWisbon 16 months ago Tags: | All Quotes by
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