Okay, first I read this article about rip-off auctions on cruises. Amazing! I guess I’m slightly amazed that people on a cruise buy $30,000 art at an auction. But I’m flabbergasted that naive bidders have no problem dropping $30,000–on "fine art" they know nothing about. And I’m dumbfounded that an auction house would tell bidders […]
Taking care of art while it’s in someone else’s hands Read
You send your packet to a gallery and they actually call you. You miss the call so you need to call them back. How do you prepare for this call? What will they ask you? If you’ve been in this situation, we especially want to hear from you. Were there questions that threw you off
Deep Thought Thursday: Preparing for gallery interview Read
On this blog tour stop for I’d Rather Be in the Studio! Brenda Marks asks me this:
What do you see as the advantages and disadvantages of belonging to an art cooperative?
Wow! I’ve never been asked this before. I think I came up with a pretty good list of things to consider, although I realize it’s a starting point.
Brenda’s blog is no longer available, so I have reposted my response here.
Let’s look at the advantages and disadvantages together and I’ll try to be as brief as possible.
Camaraderie.
Brenda, you’ve been a subscriber of mine for a while now. You have certainly heard me say at one point how important I think it is to be engaged with other artists. Great things happen when artists get together and share ideas. A well-run artist co-op can provide that.
On the flip side,
Advantages & Disadvantages of Artist Co-ops Read
I got this question at the Boulder stop on the studio tour for my book. I’ll throw it out there, although I’m not sure this is an impartial audience. If your goal is to have your art in a museum, is blogging really for you?Do we know of any museum-minded artists who are blogging right
Deep Thought Thursday: Is blogging for everyone? Read
Check out the NY Times for the recount of the Takashi Murakami opening at the Brooklyn Museum. There’s a video of the opening–something I’ve never seen before on the Times. And it’s fascinating. Take in all of the details of the evening, including the plates commissioned for the tables just for the opening.
This week’s Deep Thought comes from Patricia Oblack. Should we as artists, care if our work is sold in galleries, and think it will upgrade our standing in the art community, recognition, etc., since we are contemporary artists? Or, is it better to have reps selling our work corporately, and just take the money? As
Deep Thought Thursday: Ego or income? Read
This New York Times article about an exhibit of Bhutanese art is a fascinating look at how museum exhibitions come together over time and with the help of many people. As always, be sure to watch the slideshow.
How a major museum exhibition comes together Read
Witness Honey Space, a rent-free, heat-free, window-free gallery in a "cubbyhole" in Chelsea. The Times article states: If you like the art inside, you can call the artist’s phone number on the cards lying around. You could also steal it. But the people involved with the gallery hope that you appreciate the cultural value of
Exhibition space can happen anywhere Read
Image (c) Bill Wahlgren, Red and Gold X Bill Wahlgren asks: The Internet allows me to research out-of-town galleries to some extent, but it doesn’t provide me with reliable information about their standing as businesses, such as sales history over a period of years, liens, credit rating, and other financial measures. The conventional wisdom is to
Check up on a gallery before entering into a business arrangement Read
Stefanie Graves wrote recently with this conundrum. I have a question based on a discussion between my husband (also an artist) and me. It seems we have very different perceptions about what is meant by an electronic portfolio. We’re not talking about Zapplication, but rather sending images via CD to galleries or shows to be
Should you go to the trouble of a Flash presentation for your art portfolio? Read
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