Definition of artist according to the San Diego Municipal Code,Chapter 02, 06Division 07, Section 26.0702:
Artist means an individual generally recognized by critics and peers as a professional practitioner of the visual, performing, or language arts, or a combination thereof, based on that professional practitioner’s body of work, educational background, experience, past commissions, exhibition/ performance record, publications, and
production of artworks.
Barely-related quote: If that's art, I'm a Hottentot. -- Harry S Truman, in 1947 after viewing a group of paintings the State Department had bought for an overseas tour meant to demonstrate to non-believers that artistic creativity flourished best in America, under American capitalism. The works were hardly radical; none were abstract, let alone Abstract Expressionist.
Thursday, May 28, 2009
Monday, May 18, 2009
Web Design Warning
Because of the prevalence of malware sites, many surfers have JavaScript turned of by default. This means that if you have a JavaScript front page, these people will probably pass you by. Flash presentations on the home page are also problematic as people without high-speed connections will turn elsewhere.
It all depends on the function of your website, of course. Each site should have a specific primary purpose. If yours is to serve as a portfolio for potential collectors or high-end galleries who are likely to have the latest computer systems, and whom you send there, then a Flash presentation on the home page might be OK. Still, if a busy person has to spend too much time waiting for what they came for, they may move on. In general, you want your site to present your work with the same respect a good gallery would present it.
It all depends on the function of your website, of course. Each site should have a specific primary purpose. If yours is to serve as a portfolio for potential collectors or high-end galleries who are likely to have the latest computer systems, and whom you send there, then a Flash presentation on the home page might be OK. Still, if a busy person has to spend too much time waiting for what they came for, they may move on. In general, you want your site to present your work with the same respect a good gallery would present it.
Friday, May 8, 2009
More on Bedford Gallery Tackiness
TCA spoke with an artist who was at the Bedford Gallery opening where it cost $5 to enter. This artist reported that the place was packed, mainly with "art ladies," some of whom were friends of the artists in the show but many of whom seemed to be locals "who just love art." You know the kind. Many appeared to have had purchased new outfits just for the occasion, our spy reported.
Outside, some people who had come to the opening were complaining they didn't have $5, that they didn't bring cash when going to an art opening. There were also one or two "homeless guys" asking for spare change. Heck, I don't blame them. If I were down and out, I'd head over to a place where it was rumored that suburban ladies in new outfits were throwing money away.
Back inside: the artists who had work in the show were required to wear round labels with their names and the word "Artist." This is the type of label that sticks because of a tacky substance on the back.
The food and drinks we were meager and sub-standard despite the charge. I see someone commented on this already.
TCA also spoke to an artist who has had some connection with the Bedford Gallery for years. She was appalled at the idea that a fee would be charged to attend an opening and said she had never heard of such a thing before.
She did know about the charge the gallery levies for those who simply want to see an exhibit. She had been on the committee that discussed such fees, in fact. The original fee proposed had been $7 or $8, she thought. Those in favor of that amount pointed out that the Museum of Modern Art in SF charged more than that, but she and others argued that the Bedford Gallery was not SFMOMA and was not in San Francisco. She felt, as she still feels, that a high fee -- or any fee -- would keep out those who could benefit most from seeing a show: art students and young artists. It is, after all, a community gallery that is supposed to serve the people. The committee reached a compromise of sorts and set the entrance fee at $4. Now it is $5, more for "special." shows.
We also heard directly from an artist who has significant gallery representation and thus has not entered juried shows in several years. She was approached by a member of the staff and asked to submit to the show because, according to that person, they had not had many good submissions, and wanted some good work in the show. She declined. But then was asked again -- as a favor, please. She agreed and was charged $35 to submit her work. (TCA is aware of the practice of inviting artists to show along side of those who had to submit their work to the jury process, but this is different; such artist are usually honored, not charged.) She was accepted, so had to take her work to the gallery, a good three-hour round trip if all went well. After dropping off her work, she asked if she could take a look at the current show in the gallery. She was told yes, then charged $7 for the privilege.
Outside, some people who had come to the opening were complaining they didn't have $5, that they didn't bring cash when going to an art opening. There were also one or two "homeless guys" asking for spare change. Heck, I don't blame them. If I were down and out, I'd head over to a place where it was rumored that suburban ladies in new outfits were throwing money away.
Back inside: the artists who had work in the show were required to wear round labels with their names and the word "Artist." This is the type of label that sticks because of a tacky substance on the back.
The food and drinks we were meager and sub-standard despite the charge. I see someone commented on this already.
TCA also spoke to an artist who has had some connection with the Bedford Gallery for years. She was appalled at the idea that a fee would be charged to attend an opening and said she had never heard of such a thing before.
She did know about the charge the gallery levies for those who simply want to see an exhibit. She had been on the committee that discussed such fees, in fact. The original fee proposed had been $7 or $8, she thought. Those in favor of that amount pointed out that the Museum of Modern Art in SF charged more than that, but she and others argued that the Bedford Gallery was not SFMOMA and was not in San Francisco. She felt, as she still feels, that a high fee -- or any fee -- would keep out those who could benefit most from seeing a show: art students and young artists. It is, after all, a community gallery that is supposed to serve the people. The committee reached a compromise of sorts and set the entrance fee at $4. Now it is $5, more for "special." shows.
We also heard directly from an artist who has significant gallery representation and thus has not entered juried shows in several years. She was approached by a member of the staff and asked to submit to the show because, according to that person, they had not had many good submissions, and wanted some good work in the show. She declined. But then was asked again -- as a favor, please. She agreed and was charged $35 to submit her work. (TCA is aware of the practice of inviting artists to show along side of those who had to submit their work to the jury process, but this is different; such artist are usually honored, not charged.) She was accepted, so had to take her work to the gallery, a good three-hour round trip if all went well. After dropping off her work, she asked if she could take a look at the current show in the gallery. She was told yes, then charged $7 for the privilege.
Thursday, May 7, 2009
Tackiness Among the Wax
Walnut Creek is a city of 65,384 about 30 miles northeast of San Francisco. The median household income is $106,122. As of July 2006, the average price of a detached single-family home was $857,136. In the 2000 census, 83.1% of the residents identified as White, 1.1% Black.
The city's Bedford Gallery, supported by taxpayers and presumably charged with cultural enrichment of the community, is currently hosting a juried show of works made primarily of wax. It cost $35 for artists to submit images for judging. That figure is above the national average, but not outrageous. What is different and new and outrageous is this:
The gallery charged people $5 to attend the opening, which was last night, May 6. Artists who have work in the show having paid a $35 submission fee and sometimes hundreds of dollars in crating and shipping), however, were treated with great magnanimity: they got in free. Not only that, they were allowed to bring one guest without charge. Isn't that nice? Two, guests, well, that is $5 and three is $10, and if you invited your collectors and friends and relatives and 15 showed up to support you, the Bedford Gallery benefited $75 from them.And the friends and relatives and collectors will forever remember that opening and the Bedford Gallery and you.
I get to see perhaps 50 invitations a month and have seen thousands during my lifetime. This is the first time I have seen a fee charged for an opening. Have you ever? I mean, have you ever!
The city's Bedford Gallery, supported by taxpayers and presumably charged with cultural enrichment of the community, is currently hosting a juried show of works made primarily of wax. It cost $35 for artists to submit images for judging. That figure is above the national average, but not outrageous. What is different and new and outrageous is this:
The gallery charged people $5 to attend the opening, which was last night, May 6. Artists who have work in the show having paid a $35 submission fee and sometimes hundreds of dollars in crating and shipping), however, were treated with great magnanimity: they got in free. Not only that, they were allowed to bring one guest without charge. Isn't that nice? Two, guests, well, that is $5 and three is $10, and if you invited your collectors and friends and relatives and 15 showed up to support you, the Bedford Gallery benefited $75 from them.And the friends and relatives and collectors will forever remember that opening and the Bedford Gallery and you.
I get to see perhaps 50 invitations a month and have seen thousands during my lifetime. This is the first time I have seen a fee charged for an opening. Have you ever? I mean, have you ever!
Copyscape - About Online Plagiarism
A useful site about plagiarism, copyright and related subjects, it has a service that lets you enter a URL to check if anyone is making extensive copies of that site.
Copyscape - About Online Plagiarism
Copyscape - About Online Plagiarism
Monday, May 4, 2009
Resumes
Q: I read in the cover letter to the April Art Opportunities Monthly that an artist shouldn't list vanity galleries on his/her resume (something I have never invested money or time in, thankfully). But what about the taking-all-comers/no-submission-declined things like "The Canvas Project" at the Atlanta airport, "6x6x9" at the Rochester Contemporary Art Center and so on?
A: The point of a resume is to help you get the job, so to speak. It's also a story about you, in a particular format. In general, try to list only the "best" things on a resume and only those things that tell the "story" about you that you are trying to tell.
In the business world, a resume is normally the first thing looked at. If the job applicant doesn't have a suitable background, the process ends there. In the art world, a resume is not as important. There, the first thing looked at is the work. If the work doesn't suit the needs of the gallery (or residency committee or Request For Qualifications, etc.), the process ends there. It doesn't matter how impressive the resume is.
But if the work seems to be appropriate, then the resume will get a quick read. Normally, it is the overall impression the resume makes that counts. These impressions can range from "beginner, trying to pad the resume with stuff that anyone could be in" to "stuck in small-time shows forever" to "solid professional, with shows at about the level of artists we already deal with."
For commercial galleries, the weight given a resume varies with the personality of the gallerist. Several years ago I did an article about what dealers were looking for. To the question, "How important is the resume?" one replied, "I don't need them. I trust my eye." Another, more typical, answer was: "Well, it tells me where the artist has been." In other words: it is some information about the level he or she has been involved with, which may influence my decision to show this artist. An "impressive" resume may make the dealer look more favorably at the work, whereas a weak one may, at least at some level, make the dealer question his/her initial reaction to the work. Dealers, are, after all, in business to sell work; they are not primarily art critics.
A resume for a RFQ for a public art commission has much more importance. There, assuming the past work is suitable, the committee wants to see evidence that the artist can carry out a project like the one they want. A grant committee may be looking for other things, etc.
Which gets to this point: you can have different resumes for different purposes. (I am not suggesting lying or exaggerating. Ethics aside, dishonesty in the art world is a bad idea because it is quickly uncovered, the art world being essentially a small one.) Each resumes can emphasize what is important for its purpose and eliminate the things that are not.
And which gets to your answer, finally: If you are using the resume to help you get into a commercial gallery, probably best to leave those accept-all-comers shows out. A few of them on a resume used to help you get a residency wouldn't hurt.
A: The point of a resume is to help you get the job, so to speak. It's also a story about you, in a particular format. In general, try to list only the "best" things on a resume and only those things that tell the "story" about you that you are trying to tell.
In the business world, a resume is normally the first thing looked at. If the job applicant doesn't have a suitable background, the process ends there. In the art world, a resume is not as important. There, the first thing looked at is the work. If the work doesn't suit the needs of the gallery (or residency committee or Request For Qualifications, etc.), the process ends there. It doesn't matter how impressive the resume is.
But if the work seems to be appropriate, then the resume will get a quick read. Normally, it is the overall impression the resume makes that counts. These impressions can range from "beginner, trying to pad the resume with stuff that anyone could be in" to "stuck in small-time shows forever" to "solid professional, with shows at about the level of artists we already deal with."
For commercial galleries, the weight given a resume varies with the personality of the gallerist. Several years ago I did an article about what dealers were looking for. To the question, "How important is the resume?" one replied, "I don't need them. I trust my eye." Another, more typical, answer was: "Well, it tells me where the artist has been." In other words: it is some information about the level he or she has been involved with, which may influence my decision to show this artist. An "impressive" resume may make the dealer look more favorably at the work, whereas a weak one may, at least at some level, make the dealer question his/her initial reaction to the work. Dealers, are, after all, in business to sell work; they are not primarily art critics.
A resume for a RFQ for a public art commission has much more importance. There, assuming the past work is suitable, the committee wants to see evidence that the artist can carry out a project like the one they want. A grant committee may be looking for other things, etc.
Which gets to this point: you can have different resumes for different purposes. (I am not suggesting lying or exaggerating. Ethics aside, dishonesty in the art world is a bad idea because it is quickly uncovered, the art world being essentially a small one.) Each resumes can emphasize what is important for its purpose and eliminate the things that are not.
And which gets to your answer, finally: If you are using the resume to help you get into a commercial gallery, probably best to leave those accept-all-comers shows out. A few of them on a resume used to help you get a residency wouldn't hurt.
Honesty
I was once at a workshop on breaking into public art where an audience member asked, "Is it OK to lie on your resume?" Laughter ensued, but you can bet a lot of the young artists there laughed for the wrong reason.
The presenter gave an excellent response. It went something like this: "The art world is essentially very small place." If you lie, you will be found out."
They say there's a class idiot in every group. If the person who asked the question filled that role, he was quickly replaced by a young woman who volunteered: "It's not OK to lie but it's OK to exaggerate. Like on this one project, I was a volunteer helper but on my resume, I said I was in charge." A short embarrassed silence followed. During that time, the handful of arts administrators and the presenter, who was a public art consultant for several small cities, probably made a mental note of the woman's name. As did her boss, who was the city official who had put together the workshop.
A friend of mine is responsible for hiring for the art department at a college. She does the initial screening and interviewing prior to a committee making the final decisions. There was a job opening recently. One seeming well-qualified applicant listed on her resume a solo show at a certain time in a certain very good gallery. Impressive. But their was one problem: my friend also lists that show on her resume. But she lists it as the group show it actually was. Next application, please.
The presenter gave an excellent response. It went something like this: "The art world is essentially very small place." If you lie, you will be found out."
They say there's a class idiot in every group. If the person who asked the question filled that role, he was quickly replaced by a young woman who volunteered: "It's not OK to lie but it's OK to exaggerate. Like on this one project, I was a volunteer helper but on my resume, I said I was in charge." A short embarrassed silence followed. During that time, the handful of arts administrators and the presenter, who was a public art consultant for several small cities, probably made a mental note of the woman's name. As did her boss, who was the city official who had put together the workshop.
A friend of mine is responsible for hiring for the art department at a college. She does the initial screening and interviewing prior to a committee making the final decisions. There was a job opening recently. One seeming well-qualified applicant listed on her resume a solo show at a certain time in a certain very good gallery. Impressive. But their was one problem: my friend also lists that show on her resume. But she lists it as the group show it actually was. Next application, please.
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