Monday, October 26, 2009
Project 3 Paper: Mark of Venus
Click to view full screen, from there you can zoom in further if needed.Mark of Venus
Monday, October 19, 2009
Response to pg. 123-136
How to Build Long-Term Professional Relationships
I found this section to be much more interesting than previous sections, because this gave me information on my future life as a practicing artist. The other sections did too, to a certain degree. But they were more about technicalities and paperwork than about what it really involves to be an artist. Of course, it was an entire chapter about how important connections are; the “your success is measured by who you know” aspect of the art world. But considering that I have complained about this before, I will put that issue aside this time.
Most of this information was completely new to me, therefore it was extremely educational and valuable to me. I was completely unaware that artists stick to a few main galleries and that those galleries invest so much into their artists. I am unsure how I feel about that situation. On one hand it seems great; they work hard for you, get your name out there and sell your work for you. However, on the other hand you lose the ability to have total say over your own artwork. I mean that, you may not be able to sell a piece of your own work because it would damage your relationship with the gallery. It also made reference to continually keeping the gallery updated on your works in progress. I don’t know that I like have to report my progress to someone, that seems an awful lot like having a boss.
The author also discussed other connections to be made, mainly with people who will sell your work. I wish that she explained in more detail how you work with multiple connects in multiple places and how that works. She discussed that you can not sell some works because it would hurt your relationship with your gallery, but what if you have 2 other galleries you work with, along with dealers and advisors?
It also seems some unpractical to have to get to know everyone you encounter in the art world, like every receptionist and so on. I realize that they could one day be a curator, but it doesn’t seem feasible to really meet and stay connected with everyone you encounter.
I found this section to be much more interesting than previous sections, because this gave me information on my future life as a practicing artist. The other sections did too, to a certain degree. But they were more about technicalities and paperwork than about what it really involves to be an artist. Of course, it was an entire chapter about how important connections are; the “your success is measured by who you know” aspect of the art world. But considering that I have complained about this before, I will put that issue aside this time.
Most of this information was completely new to me, therefore it was extremely educational and valuable to me. I was completely unaware that artists stick to a few main galleries and that those galleries invest so much into their artists. I am unsure how I feel about that situation. On one hand it seems great; they work hard for you, get your name out there and sell your work for you. However, on the other hand you lose the ability to have total say over your own artwork. I mean that, you may not be able to sell a piece of your own work because it would damage your relationship with the gallery. It also made reference to continually keeping the gallery updated on your works in progress. I don’t know that I like have to report my progress to someone, that seems an awful lot like having a boss.
The author also discussed other connections to be made, mainly with people who will sell your work. I wish that she explained in more detail how you work with multiple connects in multiple places and how that works. She discussed that you can not sell some works because it would hurt your relationship with your gallery, but what if you have 2 other galleries you work with, along with dealers and advisors?
It also seems some unpractical to have to get to know everyone you encounter in the art world, like every receptionist and so on. I realize that they could one day be a curator, but it doesn’t seem feasible to really meet and stay connected with everyone you encounter.
Response to pg. 61-69
Artist Résumé and Biography
It is becoming increasingly difficult to write responses to this book. This is because the author is explaining the proper way to be an artist. She speaks from experience, and she is only telling us what will help us in the future. So again, I have found this section very beneficial to read and I will no doubt be revisiting it when I make my own CV so that I only put in what is important and put everything is the correct order.
She doesn’t give too many opinions to argue with, just pretty much telling us if we want to survive as artists we should do these things well. So it leaves little room for our own opinions and arguments. However, I did (as usual) find something that bugged me.
“As you will see, these contacts and relationships are essential to your career development.” This statement irks me. It reminds me of how much the current art world annoys me. Art is about expression and comes from within. I do not need to know a bunch of people to be a good artist. However, to become a professional artist I have to have all these connections. I do agree that knowing different artists could help for future collaborations, but I do not feel that this career should be all about who you know (which it is). My frustration is not towards the author, for this is not the author’s fault. She is just telling us how to make it in this current art world, I just have issues with the way our current art world operates.
It is becoming increasingly difficult to write responses to this book. This is because the author is explaining the proper way to be an artist. She speaks from experience, and she is only telling us what will help us in the future. So again, I have found this section very beneficial to read and I will no doubt be revisiting it when I make my own CV so that I only put in what is important and put everything is the correct order.
She doesn’t give too many opinions to argue with, just pretty much telling us if we want to survive as artists we should do these things well. So it leaves little room for our own opinions and arguments. However, I did (as usual) find something that bugged me.
“As you will see, these contacts and relationships are essential to your career development.” This statement irks me. It reminds me of how much the current art world annoys me. Art is about expression and comes from within. I do not need to know a bunch of people to be a good artist. However, to become a professional artist I have to have all these connections. I do agree that knowing different artists could help for future collaborations, but I do not feel that this career should be all about who you know (which it is). My frustration is not towards the author, for this is not the author’s fault. She is just telling us how to make it in this current art world, I just have issues with the way our current art world operates.
Thursday, October 1, 2009
Artist Lecture
I went to see artist Sunkoo Yuh tonight at the visiting artist lecture that was sponsored by Lil Muddies. Sunkoo Yuh is a artist who primarily works with ceramics. I really enjoyed the lecture. Being a beginning ceramics student it was inspiring. I really loved his drip application of glazing, it really brought the faces to life. This was not an artist lecture in our syllabus, so unfortunately I didn't see any of my classmates, which is too bad because it was great. I had to miss class to go, but it was worth it. Here is a couple pictures of his works.
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