Making Art Archives

© 2017 Dawn Williams Boyd, All Through the Night: America's Homeless. Assorted fabrics, cotton embroidery floss, antique quilt, lace, buttons, child's socks, 39 x 61.5 inches. Ron Witherspoon Photography

The Art Biz ep. 72: Planning a Year’s Worth of Artwork with Dawn Williams Boyd

Taking charge of your art business isn’t only about bookkeeping, inventorying the work, and promoting your art effectively.

Taking charge of your art business is about assuming 100% responsibility for your actions—all of your actions, especially in your studio.

We all want to increase our productivity and creativity, and Dawn Williams Boyd has mastered doing exactly that by planning ahead.

Dawn makes figurative textile paintings that reveal stories—not always pretty ones—about life in America. Dawn’s work has an unapologetic social activist message that addresses the Black experience, feminine sexuality, social issues, and this country’s politics.

In today’s social and political climate, there aren’t enough hours in the day for Dawn to convey all of the messages she wants to share in her art. She has to carefully plan the body of work she is going to make throughout the year. She takes charge of her production for the entire year.

In our conversation for the Art Biz Podcast, Dawn and I discuss her process for plotting out which pieces she will make each year. We also talk about why now is not the time to make art that matches the couch, what kinds of conversations she wants people to have around her work, and how she makes the valuable connections that are helping her reach her most ambitious goals.

The Art Biz ep. 72: Planning a Year’s Worth of Artwork with Dawn Williams Boyd Read

2020 Chris Maynard Reflection No. 5 12x15 inches turkey feather artwork

The Art Biz ep. 70: Seeking Balance with Chris Maynard

Balance is the holy grail of every entrepreneurial artist’s quest.

What does a balanced artist’s life look like?

And what happens when you actually achieve balance?

As much as I love the idea of being whisked away by my latest all-consuming project, I also know what it feels like to be out of balance. I much prefer being in charge of my time and my life, and that’s why I loved this conversation with Chris Maynard.

In this episode I talked with Chris about finding balance in life as well as in making and marketing art. He shares the secret behind his seemingly successful quest for balance, how he approaches requests for commissioned pieces, and the systems that he uses to stay on top of it all.

Balance may seem elusive, and, yet, we all need it in order to be our most creative and successful selves.

Whether you’re currently searching for balance in your work or have already homed in on what the perfect balance means to you, this is a conversation you won’t want to miss.

The Art Biz ep. 70: Seeking Balance with Chris Maynard Read

7 Steps to Developing Your Artistic Style

In order to project a professional image as an artist, you must be able to distinguish yourself and your art from a sea of other talented artists. To do this, you must first develop your artistic style.

As most artists have come to learn, developing an artistic style all your own is easier than it sounds. It means that your work doesn’t look like your instructor’s work, but that it is also cohesive when shown together.

What is Artistic Style?

Style is a word we use freely and without much thought. But what does it mean?

In her book Living With Art, Rita Gilbert writes that “style is a characteristic or group of characteristics that we can identify as constant, recurring, or coherent.” She goes on to say, “Artistic style is the sum of constant, recurring or coherent traits identified with a certain individual or group.”

An artist’s style is not good or bad. It just IS. The execution might be criticized, the colors might be perceived as ugly, or the composition seen as weak, but the style is what it is.

Your style is a combination of the mediums, technique, and subject matter you choose. It’s not just that you make contemporary quilts or that you paint landscapes. Those are mediums and genres by themselves. No, style is that extra little thing you do to distinguish your work from that of other artists.

Two quilt artists might each create abstract, colorful compositions using the same traditional block. If both are mature artists, however, we’d probably be able to tell one artist’s work from the other. For example, a fiber artist might employ one or more of the following in creating the quilt.

Hand-dyed fabrics from organic dyes
Loose threads hanging on the surface (rather than hiding them)
A particular fabric that becomes a signature of sorts
Text written with ink on top of the quilt

In other words, she becomes known for works that contain a certain characteristic. For a painter it might be loose brushstrokes, impasto, or a repeated image. Kehinde Wiley, who painted the official portrait of President Obama, is known for his highly decorative backgrounds around his subjects. Sarah Sze brings together hundreds and thousands of found objects to create detailed multimedia landscape installations.

What are you known for?

7 Steps to Developing Your Artistic Style Read

Feminist installation by Patricia Miranda

The Art Biz ep. 61: The Value of Critique Groups for Artists with Patricia Miranda

My experience with critiques is limited to memories of undergraduate painting classes with George Bogart. I was crammed into a space outside the studio classroom with my fellow students.—some of us lucky to snag a bench—to talk about our work.

The only session I remember vividly was one in which I had a very early work in progress that was about my 25-year-old cousin, who had recently been killed in a small plane crash. I struggled with that piece and it was getting nowhere.

“Maybe it’s too soon,” is what I recall Professor Bogart saying. It was, indeed, too soon. And I didn’t have a strong vision for the piece—just the desire to depict this fond memory.

I strongly believe that artists need critique in order to improve. Artists who have been part of formal and ongoing critique groups find them invaluable to their creative development, which is why I’ve prescribed them to many clients over the years.

In the latest episode of the podcast, I talk with Patricia Miranda, founder of The Crit Lab, which uses a structured pedagogy designed to deepen discussion around members’ work.

Miranda has been leading 7 separate critique groups in 3 states and has recently transitioned successfully to online sessions in the wake of Covid.

I encourage you to listen to this episode more than once. And then return to it later. There’s much to consider.

The Art Biz ep. 61: The Value of Critique Groups for Artists with Patricia Miranda Read

The Art Biz ep. 48: Why Make Art Now

A number of years back I wrote a blog post called: What’s The Point of Making Art When The World Is So Screwed Up?

Lately, we’ve noticed that that post has been getting a lot of attention, which made me think that it’s time to update it and add a special podcast episode on the topic.

Before you can even begin to think about business at a time like this, you might need to come to grips with an existential question: Why make art at all? Why make it now?

If you’ve ever questioned the reason for making art, you’re not alone.

During the Covid-19 pandemic, artists everywhere are questioning their purpose. Many artists are having difficulty getting in the studio.

It’s tough to be motivated when there’s so much chaos around us. Why make art when you have no place to show it? When people aren’t able to interact with your work?

Venues are shut down. Unemployment is skyrocketing. The kids at home require your attention.

With so many other things taking precedence, and with so much negativity in the news, you might begin to see your work as frivolous. Expendable.

Well-meaning thoughts might enter your head.

Shouldn’t I be out there saving people?
Shouldn’t I be doing something more important than making art?

First, you can absolutely volunteer to make masks, pick up dinner for a neighbor, or donate blood. And you should.

But that doesn’t mean you should stop making art.

There are at least 5 reasons why you should continue making art at this moment, and I cover them in episode 48 of the podcast. This post includes the audio and a complete transcript.

The Art Biz ep. 48: Why Make Art Now Read

The #1 Priority for Artists

I am frequently on the receiving end of artists’ complaints about all of the computer work they have to do. There’s Facebook, Instagram, Pinterest, and then writing a blog post, sending an email, organizing photos … you know the list.

Yes, there is a lot of digital work that is required of today’s artists. And aren’t you lucky to have these free or low-cost tools that artists two decades ago didn’t have to share their art? (It’s a good idea to remember this now and then.)

In some instances, I find that artists who spend excessive amounts of time on the computer are doing so at the peril of their artwork.

In other words, they’re unconsciously doing it to avoid the studio work. And, let’s face it: The studio work is the harder work.

I don’t care how much you say you enjoy making art. When the pressure is on to show and sell your work, the creative process can be brutal.

It’s super easy to type, respond to comments, and “like” other people’s posts. You could waste all kinds of time doing that and that’s exactly what you’d be doing. Wasting time.

Don’t get me wrong: You can’t avoid these tasks entirely. But your days should be heavily weighted toward making art.

Are you using your computer work as an excuse to avoid engaging with your more important work?

You Are Not Alone

Please know that when you’re struggling to make art, you are not alone. All artists have phases that are more successful for creating than others.

It’s when the phase becomes your modus operandi that it is no longer acceptable. If you haven’t worked in the studio for days or weeks,

The #1 Priority for Artists Read

The Art Biz ep. 40: Focusing on Making Work That Matters with Suzanne Gibbs

Two years ago, Suzanne Gibbs entered my Art Biz Inner Circle and began taking full advantage of everything that was offered.

As an aside, although we no longer offer the Inner Circle, we do continue to support artists through the Art Career Success System and our new small group artist masterminds. But, no matter how hard we try, we can’t make you do the work, whether it’s business or studio based.

And that’s where Suzanne’s story comes in.

What she wanted to share in this episode is critical to every artist’s success.

She and I started talking about the idea of doing less (not more) in order to accomplish your goals, but it turned into a conversation about focusing more. Focusing on what matters. For Suzanne, that meant making a new body of work.

Nothing is more important to your professionalism as an artist than a consistent studio practice. Nothing!

Listen to this episode to hear how Suzanne got over FOMO, set herself up for success, and used trusted artists to keep her on track for creating that body of work.

The Art Biz ep. 40: Focusing on Making Work That Matters with Suzanne Gibbs Read

A.B.E. (Always Be Evolving)

You might have noticed something about Art Biz Coach and me: we’re always changing.

I can’t help it. I am continually learning, so why should my services and offerings remain the same?

I always look for ways to offer more information in a fresh way that best serves my clients.

This is why there is no more Art Biz Bootcamp or Organize Your Art Biz – because I found ways to improve them.

Last year I introduced the Art Career Success System, a 5-month program to grow your art business. This year … Yep! It’s changing. It’s still around, but in a radically different format. (Stay tuned for that.)

Creative Evolution

I believe in personal and professional evolution. In fact, I may be addicted to it.

As an example, I expressed frustration with my coach recently about the fact that I seem to reinvent my programs every year. Won’t it ever calm down? I wondered.

She suggested, gently, that this is my nature. I have an artist’s soul and I like to create things.

Guilty!

There’s such joy for me in growing, planning, and improving. I’m guessin’ that you’re the same. You’re an artist, after all.

You’re all about making and creating. New! Next! Again!

New experiences add to your palette.

New visions force you to think differently.

New encounters ask you to question the same ole same ole.

Ignore these urges at your professional peril because the alternative is stagnation. Stuck-ness.

A.B.E. (Always Be Evolving) Read

How Do You Motivate Yourself to Finish a Project? (Curious Monday)

We all have projects that are part of our lives for longer than originally intended. The more we avoid them, the more monstrous they become.

Procrastination is in charge.

Today’s question …

How do you motivate yourself to finish up a project that has been hanging around the studio too long?

How to you face a project that you committed to, but no longer have any interest in?

How Do You Motivate Yourself to Finish a Project? (Curious Monday) Read

The Case For Focusing Your Creative Energy and How To Do It

You have so many ideas. You’re full of creativity and ready to apply it to any material you come across.

You paint for the pleasure, you paint commissioned work, you make jewelry, you snap photos, and you teach. You know who you are. You’re going 90 miles an hour in every direction with your hair on fire.

People say you should focus – pick one thing and get on with it.

There’s that “s” word again: should. Beware of this word. I’ve been guilty of using it a lot myself, but I’m becoming increasingly aware of how dangerous it is.

The only thing you should do is to be in integrity with your goals, your purpose, and your vision. How this manifests itself in your life is a delicate negotiation between you and the Universe.

There is, however, a reasonable argument to be made for concentrating your creative energy in one area.

The Case for Focusing Your Art

When your work is moving in multiple directions simultaneously, at least four problems arise.

The Case For Focusing Your Creative Energy and How To Do It Read