An artist statement is an essential part of a good portfolio. Gallery owners respect the professionalism of a good statement. A good statement allows people who love your work to find out more about you, offers your audience more ways to connect with you, and increases their appreciation and perceived value of your work. Equally important, an artist statement gives you the opportunity to see what you do through the eyes of language, to validate your creations from a new perspective. However, artists attempting to write their statements are faced with the daunting problem of coherently organizing all those words!
Words are a completely different experience from the tactile world of art making. Paper and paint inhabit the world of our senses, while words remain the detached curios of our minds. Once in a while, when the two worlds connect and words entice our senses, we love it.
So what stops us from using words to describe our art, the same words that have been with us since we could walk? Why are we so suspicious of language, one of our fundamental connections to being human?
The answer, in part, relates to a fatal combination of art critics and education. Art critics use language as scepters of judgment; if their words determine our self-worth, then by all means, kill the messenger. Formal education uses language as a means of control; we are taught when, where and how we can or cannot use which words, and, consequently, we grow to mistrust our relationship to language. The mistrust smolders underground, mostly unnoticed, until our words are thrust into containers, like the artist statement. Suddenly, words make us visible targets for judgment and criticism.
An opportunity to write an artist statement often causes us to second guess every idea we ever had about our work. We convince ourselves that we have nothing to say, or certainly nothing to say of value. Our first instinct is to either turn off the light and head out of the studio or pump ourselves up to overwrite. But running away confirms our fears that there must be something to run away from. And pumping up encourages us to use flimsy or pretentious words to smooth over our mistrust of language. This, in turn, fuels our perception that language cannot adequately describe our art.
Luckily, you have an alternative to giving up on your statement before you start. Instead, pretend that you have a lot to say that is neither self-important nor trivial, but is rather relevant, revealing, and wonderful. Imagine that all of your objections to writing have been overcome and you are simply going to write whatever you believe to be true, at the moment, about your work. The good news is that by letting yourself go, you can discover and create a working artist statement.
There is an unselfconscious language about your work which you use all the time. Every time you talk or think about your work, you experience a relationship between words and your art. The trick is to learn how to catch yourself doing this, and then faithfully write it down.
A Few Tips For Getting Started:
Treat your artist statement with the same care that your treat your art. It's all about you.
Use a notebook that is lovely or practical and keep it with you at all times-- in the studio, in the car, beside your bed.
Find and use a writing pen or pencil that flows smoothly across the surface.
Take a few weeks to jot down any fleeting thoughts that come to you about your work. Give yourself permission to gather. Selecting and sorting can come later when you have enough in your basket.
Make specific times and dates with yourself to transform your notes and write your statement. Respect these times. Do not tolerate interruptions.
Prepare your internal space. Close your eyes and conjure up your worst critic. In your mind's eye, lead this person out of the room. Give them another task, besides breathing over your shoulder, say, climbing a tree, or skipping stones, or going to the local library. Tell your critic not to come back until you are ready. Critics are terrified of being abandoned, that's why they are so tenacious, so reassure yours that there will be a place set just for them at the editing and revision table. Critics are also stubborn. You may have to do this more than once.
Write more than one statement. Like different works of art, an artist statement also thrives on change and rising out of "the moment." What suits this month's work may not work for next month's work.
Give yourself permission to make mistakes. Let yourself write badly. Crumple up lots of paper balls and throw them in a corner. That's the beginner's way. Then, when your statement comes out great, which it eventually will, you will know the difference.
FOR MORE ARTICLES CLICK HERE
http://www.artsbig.com
Wednesday, September 24, 2008
Networking for Artists
Meeting people. One of the most important elements to success in your endeavor of promoting and selling your art.
Of course, one can meet many friends and family, but these contact can go just so far. You have to get out there and meet NEW PEOPLE to get your stuff known.
It's quite difficult to just jump into a room full of people you don't know and engage in conversation, but it's essential to do so in order to further your artwork. This art of meeting new people is commonly referred to as "networking".
Why is networking great for artists?
Remember: it's not who you know that counts in the end, it's who knows you! If you make a sufficient impression on somebody, they will be able to think of you when some kind of opportunity arises within their activities.
Once you develop your network (which will surely be filled with like-minded people as well as more business-oriented contacts), they will be able to refer you to potential clients. Think of it as your own marketing team always ready to promote your artwork and abilities to interested parties.
Where to network
This word of mouth can be accomplished in many different ways, you can physically meet people at events, virtually meet them online or through contacts of contacts.
Great places to network include:
* Museums in your home town
* Art associations
* Art-related events and conferences
* Seminars
* Galleries (especially during art openings)
* Alumni associations
* Online forums
* Blogging
* Other social websites
Networking etiquette
Before the event
Once you have identified a good event to attend, you must prepare for it:
* Dress appropriately for the venue
* Bring business cards (note your contact info and website address on them)
* Have a goal (so that you can then identify if you have succeeded in accomplishing it - measuring your effectiveness)
* Eat prior to the event
During the event
Once you arrive, the fun really starts. But keep in mind the following tips:
* Be polite and relaxed
* Don't hesitate to someone who seems alone. Or join the conversation of a group of three other people (it is much more difficult to jump into a two-way discussion)
* Ask open questions (not "yes" or "no" questions)
* Keep conversations short and sweet
* Offer to exchange business cards at the end of the conversation
* Don't eat too much of the food or drink too much wine
After the event
Once the event is over doesn't mean the networking is over:
* Take notes about event participants (on their business cards)
* Follow up with interesting contacts by email or phone the next day
* Plan to meet at least one new contact for a coffee
* Find another event to attend
Conclusion
Networking might seem hard at first, but once you get the hang of it (and start recognising familiar faces at events) it becomes more natural.
As an artist, you probably are more introverted and fear rejection a bit more than the rest of the population because your art is often very close to your heart. But if you get over your fear of rejection, you art business (because as an artists, you are in the business of selling your art) will benefit immensely from the word of mouth that networking provides.
FOR MORE ARTICLES CLICK HERE
http://www.artsbig.com
Of course, one can meet many friends and family, but these contact can go just so far. You have to get out there and meet NEW PEOPLE to get your stuff known.
It's quite difficult to just jump into a room full of people you don't know and engage in conversation, but it's essential to do so in order to further your artwork. This art of meeting new people is commonly referred to as "networking".
Why is networking great for artists?
Remember: it's not who you know that counts in the end, it's who knows you! If you make a sufficient impression on somebody, they will be able to think of you when some kind of opportunity arises within their activities.
Once you develop your network (which will surely be filled with like-minded people as well as more business-oriented contacts), they will be able to refer you to potential clients. Think of it as your own marketing team always ready to promote your artwork and abilities to interested parties.
Where to network
This word of mouth can be accomplished in many different ways, you can physically meet people at events, virtually meet them online or through contacts of contacts.
Great places to network include:
* Museums in your home town
* Art associations
* Art-related events and conferences
* Seminars
* Galleries (especially during art openings)
* Alumni associations
* Online forums
* Blogging
* Other social websites
Networking etiquette
Before the event
Once you have identified a good event to attend, you must prepare for it:
* Dress appropriately for the venue
* Bring business cards (note your contact info and website address on them)
* Have a goal (so that you can then identify if you have succeeded in accomplishing it - measuring your effectiveness)
* Eat prior to the event
During the event
Once you arrive, the fun really starts. But keep in mind the following tips:
* Be polite and relaxed
* Don't hesitate to someone who seems alone. Or join the conversation of a group of three other people (it is much more difficult to jump into a two-way discussion)
* Ask open questions (not "yes" or "no" questions)
* Keep conversations short and sweet
* Offer to exchange business cards at the end of the conversation
* Don't eat too much of the food or drink too much wine
After the event
Once the event is over doesn't mean the networking is over:
* Take notes about event participants (on their business cards)
* Follow up with interesting contacts by email or phone the next day
* Plan to meet at least one new contact for a coffee
* Find another event to attend
Conclusion
Networking might seem hard at first, but once you get the hang of it (and start recognising familiar faces at events) it becomes more natural.
As an artist, you probably are more introverted and fear rejection a bit more than the rest of the population because your art is often very close to your heart. But if you get over your fear of rejection, you art business (because as an artists, you are in the business of selling your art) will benefit immensely from the word of mouth that networking provides.
FOR MORE ARTICLES CLICK HERE
http://www.artsbig.com
The Only Way You'll EVER Sell Art
People buy art for all kinds of reasons, but in the end, all of them boil down to wants. If someone doesn't want to buy your art - they won't.
Wants can be created in a variety of ways. Sometimes a want is a result of wanting to avoid something else. Let's take an extreme example: You could hold a gun to someone's head and demand he buy your art...he WOULD want to do it . . . at least at that particular moment.
More realistically, I don't want my wife to be unhappy. If SHE loves a particular artwork, then I WANT to get it for her because I want to avoid the unpleasant state of affairs that exists in my life when she is unhappy. (Hint for artists - if you want to sell me a painting - get my wife to love it first).
What else makes people WANT to buy your art?
They might want to support YOU.
They want to impress their friends.
They want the feeling that a particular artwork gives them.
They want to cover a blank space on their wall.
They want to "invest" in something of value.
The feeling of having "discovered" an artist
The feeling of having your "best" artwork
If we back up further and examine the "root" wants, we can catagorize nearly all of our wants/desires in a few general categories (generally in order of importance):
1. The desire for health/survival
2. The desire for satisfaction/happiness
3. The desire to be great/important
Don't underestimate people's desire to be important. In How to Win Friends and Influence People by Dale Carnegie, Mr. Carnegie discusses American philosopher John Dewey.
He writes:
Dr. Dewey said that the deepest urge in human nature is "the desire to be important." Remember that phrase...it is significant.
People buy art primarily for reasons 2 and 3.
Some people, who are deeply moved by art, who possibly "suffer" from Stendhal Syndrome, buy art to satisfy their soul...to fulfill their desire for satisfaction and happiness. Other people buy art to fulfill their desire to be important...to feel like they have a good "eye", to show their art to their friends, to be "in" with the hottest new artist, etc. And some people (most people) are a complex combination of both desires.
Your job as an artist or as an art marketer to to figure out how to satisfy these desires. A good place to start is to put yourself in the other person's shows and ask "What's in it for me?"
FOR MORE ARTICLES CLICK HERE
http://www.artsbig.com
Wants can be created in a variety of ways. Sometimes a want is a result of wanting to avoid something else. Let's take an extreme example: You could hold a gun to someone's head and demand he buy your art...he WOULD want to do it . . . at least at that particular moment.
More realistically, I don't want my wife to be unhappy. If SHE loves a particular artwork, then I WANT to get it for her because I want to avoid the unpleasant state of affairs that exists in my life when she is unhappy. (Hint for artists - if you want to sell me a painting - get my wife to love it first).
What else makes people WANT to buy your art?
They might want to support YOU.
They want to impress their friends.
They want the feeling that a particular artwork gives them.
They want to cover a blank space on their wall.
They want to "invest" in something of value.
The feeling of having "discovered" an artist
The feeling of having your "best" artwork
If we back up further and examine the "root" wants, we can catagorize nearly all of our wants/desires in a few general categories (generally in order of importance):
1. The desire for health/survival
2. The desire for satisfaction/happiness
3. The desire to be great/important
Don't underestimate people's desire to be important. In How to Win Friends and Influence People by Dale Carnegie, Mr. Carnegie discusses American philosopher John Dewey.
He writes:
Dr. Dewey said that the deepest urge in human nature is "the desire to be important." Remember that phrase...it is significant.
People buy art primarily for reasons 2 and 3.
Some people, who are deeply moved by art, who possibly "suffer" from Stendhal Syndrome, buy art to satisfy their soul...to fulfill their desire for satisfaction and happiness. Other people buy art to fulfill their desire to be important...to feel like they have a good "eye", to show their art to their friends, to be "in" with the hottest new artist, etc. And some people (most people) are a complex combination of both desires.
Your job as an artist or as an art marketer to to figure out how to satisfy these desires. A good place to start is to put yourself in the other person's shows and ask "What's in it for me?"
FOR MORE ARTICLES CLICK HERE
http://www.artsbig.com
Wednesday, July 16, 2008
Welcome to the world of Artsbig.com
Welcome ladies and gentlemen, welcome to a world where art does not need an introduction, where art doesnt need an explanation, welcome to the world of artsbig.com
Artsbig.com is a free service for all the artists worldwide to come display their art in their private galleries and if you want to earn, you can sell your art to a wider audience around the world, also in the process earning a whole lot more by utilizing the benefits of the Intellectual Property your art holds - past, present and future thus without spending a dime earn money, we give you your own personal galleries which can be used as a platform to exhibit your art to the whole world.
Art is no longer limited to canvases and images, Art is in everything creative, Art is in everything expressive, thus we include media such as video and audio to better expose art based on these emerging as well as established arts.
A poem, A 2 minute movie, A note from a violin, anything that captivates and interests the beholder.
Artsbig.com caters to all such arts, and its time to start, at www.artsbig.com
Artsbig.com is a free service for all the artists worldwide to come display their art in their private galleries and if you want to earn, you can sell your art to a wider audience around the world, also in the process earning a whole lot more by utilizing the benefits of the Intellectual Property your art holds - past, present and future thus without spending a dime earn money, we give you your own personal galleries which can be used as a platform to exhibit your art to the whole world.
Art is no longer limited to canvases and images, Art is in everything creative, Art is in everything expressive, thus we include media such as video and audio to better expose art based on these emerging as well as established arts.
A poem, A 2 minute movie, A note from a violin, anything that captivates and interests the beholder.
Artsbig.com caters to all such arts, and its time to start, at www.artsbig.com
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