Artist Success Academy

First Monday Art Talk: Prologue to the Circle

2010-02-25T04:30:00Z

Can you believe that February is coming to an end? I guess that's the thing about it being the shortest month of the year. If you live in Denver it only means one thing, the First Monday Art Talk (www.fmatdenver.com) comes around again faster than usual, and that's a good thing. It's that time when the Denver Metro Area gets to get a sneak peak and meet an artist they may not have met previously or have the opportunity to get up close and personal with March's featured artist Nemo (www.artbynemo.com).

I remember when Eric Matelski, the host of the First Monday Art Talk, spoke to me about Nemo's work because he kept emphasizing Nemo's use of the circle. I've been a long time fan or Angeles Arrien who wrote a book on the five universal symbols and what it means if we're attracted to one shape in particular. I won't bore you with all the details, but it's safe to say that the circle is Nemo's calling.

The amazing thing about Nemo's work is the subtlety of the art. You may not even recognize the circle theme because you get caught up in the movement of his work. There's a nuance to the work that's intriguing and makes you start to play with the idea, "Could I create such an expansive body of work centered around a single shape?" I was fortunate to get a sneak peak at the stats that will be printed on the artist trading card given out on Monday, March 1 and Nemo's favorite artist is Jackson Pollock. His reasoning has nothing to do with the drip paint method, but with the fact that Pollock had an identifiable style.

Well let's just say that Nemo is following in Pollock's footsteps because his style is certainly identifiable. If you're in the Denver area on Monday, March 1 go meet Nemo in person at Dazzle Jazz Club, 930 Lincoln Street, Denver. The show definitely doesn't disappoint and I'm not just saying that because I am February's featured artist.

The "First Monday Art Talk" official blog will be coming, this was just a preview....stay tuned for more!

Curating is Trickier Than You Think

2010-02-12T16:18:00Z

As artists we think our only goal is to create art. Unfortunately, unless you've been discovered there are other factors to consider like selling the art. For the emerging artist or just post-emerging artist co-op galleries are a great way to get your feet wet without having a huge expense. There is usually a monthly fee to keep the co-op running and the expectation is that you'll pay in volunteering to keep the gallery up and running. One of the things to consider is that there is no one there to curate the shows, you have to do it and a badly curated show can be costly.

Unfortunately in co-op galleries you don't always have a choice as to who you are showing with and if you're a 3-D artist the odds are good you'll be sharing the stage with another artist. A gallery generally won't leave the walls blank if everything else is on pedestals in the middle of the room. This creates a quandary because what is in the foreground and what's in the background? What if the art isn't compatible? Does it showcase one artist over the other or do the two negate each other in the viewers/collectors eyes?

I attended a show last week where my senses were confused. The two artists were a painter and a ceramic artist. First let me emphasize that each artist's work was great. Each had strong pieces that made a statement about the artist's point-of-view and showed as a cohesive body of work. The problem was on the curating end. The show felt like a Clash of the Titans.

The painter's work was very bold in color and size. The ceramic artist's work was of varying sizes and the color palette was more subtle. I found that the paintings on the wall were so aggressive that the ceramic artist's work got lost. I understand that if you're style is big bold color that's what the show will consist of, but maybe cut down the number of pieces so the eye has somewhere to rest because they weren't resting on the ceramic work.

I believe the ceramic artist could have had a solo show and done something creative with the walls to off-set all the work standing in the middle of the room. I'd have a lot of questions for the artists like, "Did you discuss what the show would look and feel like before you hung the show?" or "Is there a method for the two artists to talk about how to edit the show so it could be more cohesive?" or "Were there other pieces in each artist's repertoire that would have fit better to make the show feel less agitated?"

Think about how you want your show to look and feel. Think about how you can better communicate your vision for your show with those you are working with, it's doesn't have to be confrontational. Think about what will allow you to put your best foot forward, especially if you only get one solo show a year in the venue.

Do you have any curatorial stories you'd like to share? We'd all be interested and it would be great learning experience for all artists!

Want more tips and information on curating shows? Then consider joining the Artist Work Group to expand your possibilities of creating a successful and sustainable art business. For more information Greg Katz at greg@artistsuccessstudio.com or call at 720-851-6736. Your art business is in your hands.

Calling all Photographers

2010-02-09T17:33:00Z

Did you know that there is such a thing as the Encyclopedia of Associations? It's literally an encyclopedia that lists all the associations related to hobbies, professions, interests, causes and anything else that can be an association. It was a great source when I was starting my career because I found organizations that gave me access to some of the most exciting people in my field.

Art and artists are no different. Think about the music industry and if you're in the music industry then you know about South by Southwest conference and festivals www.SXSW.com. It's the leading conference for those who are in the music industry or want to be in the music industry. It's attending events like this that separates those who want to create successful and sustainable art businesses and those who are playing artist. So why would it be different for any other medium? It isn't.

If you're a photographer I hope you're headed to Houston for FotoFest. It's an international extravaganza that has been around since 1983. There are exhibits, seminars, conversations, and auctions. There are over 100 venues throughout the city that are participating in this event, making it a pretty big deal. It' from March 15-April 25, http://www.fotofest.org/.

What will it take to get you to event like this? Is there someone you want to meet? New innovations you want to learn about? Scout out possible opportunities for exhibition? These are only a few of the opportunities being offered to you if you are willing to make the investment. I can't think of anything more important than personal and professional development. I also believe strongly in making alliances with those who have forged the path to success so I don't have to re-invent the wheel.

If you're not able to get to Fotofest, but you're wanting to increase your exposure then consider the Artist Work Group that I'm forming. I'm receiving interest from artists local to Denver (where I live) but also across the country and internationally. My technology guru is looking in to ways we can convene on the international stage in real-time. If you're interested send an e-mail to greg@artistsuccessstudio.com or call at 720-851-6736. Want to get a jump start, sign up for the 7-part e-course on "Artists Beating the Odds" at http://www.artistsuccessstudio.com.

What Artists Know and the World is Learning

2010-02-05T20:45:00Z

Before I talk about the subject of the post I'd like to tell you that this is my 500th post. It's hard to believe that I've written 500 snippets of information and tips that artists can use to become more successful and sustainable in their art businesses. Now on to our regularly scheduled programming.

Artists have known since the beginning of time that color is more than just something we see; it's multi-sensory. When we see a color we often have an emotional response along with the visceral one. Over the years social causes have begun to use ribbons of many colors to represent and acknowledge their causes. I bring this up because if you've been walking around wondering why so many people are wearing red it's because today we're bringing awareness to women's heart health.

I could go on and on about the gender differences of symptoms and treatment related to cardiac issues, but that's no the purpose of the post. Getting people to wear red on the same day makes a statement. It gets people to wonder if a memo went out instructing everyone to wear red today. On the other side of the art equation is the recognition that red is about love, passion, blood, and of course the red heart (an iconic symbol).

As artists, we use color to evoke a mood and when we pair that mood with a visual symbol it creates synergy. Do you have a favorite color and why? Does it have special significance or does it just tickle your fancy? Do you create a lot of work in that color? I was interviewed earlier this week and asked about my favorite color. I replied "purple". Looking around the room I realized as did the entire audience that I didn't have one purple piece hanging. I guess my personal likes and my artistic likes may split along the way.

Be proud of being an artist and knowing that your sense of color fosters good will in the world. Stand proud that by utilizing color you're lending your voice to causes you didn't know existed. Be aware of how color impacts the viewer and most of all....enjoy color!

Is the Art World Rebounding?

2010-02-04T17:05:00Z

I know that artists have been quite concerned about the economy and their ability to make a living as an artist over the past year. Of course, if you watch art on the world stage you'll see that the economy did shift how collectors spent their money. Earlier reports this year stated that collectors were switching their buying from international artists to more regional artists. This move made a huge impact and gave a boost to the possibilities for regional artists across the country.

Yesterday, the sale of Alberto Giacometti"s piece "Walking Man I" sold for $104.3 million dollars at Sotheby's auction. It is now the highest earning piece at an auction of all times. It beat out a piece by Picasso that sold for $104.3 million dollars, that ain't a bad days take if you ask me. Once again the art market was surprised because the estimates for the sale price were one quarter the actual sales price...that's encouraging.

So what does this say for the art market or at least for those who have money they want to spend on art? According to David Nahmad, a Monte Carlo-based art dealer is quoted in the Wall Street Journal as saying, "...the sale shows that after a weak year, the wealthy are once again 'parking their cash in art."

Of course most of you reading this blog aren't selling work for hundreds of millions of dollars, but what about regional or local collectors who might be feeling infused with a renewed sense of security in art? Maybe this is the time to begin reconnecting with those who have bought your art in the past. Perhaps you will want to consider raising the level of the prospects you wish to attract. All of this is possible, but it takes some ingenuity, determination, and perseverance. If you're sweating just reading this then maybe you should reconsider your career options.

Want to consider taking your art business to the next level then consider joining the Artist Work Group that will be forming. If you're interested feel free to e-mail me at greg@artistsuccessstudio.com or call me at 720-851-6736. Want to get a jump start, sign up for the 7-part e-course at www.artistsuccessstudio.com, think of it as a warm-up.

The Clarification Process

2010-02-02T15:25:00Z

The evening went off without a hitch. The First Monday Art Talk with Eric Matelski was provocative and inspiring, not to mention fun. As the months go by Eric continuously looks for new ways to engage the arts community bringing together artists of all mediums who wouldn't meet each other in any other context. That's the best part of building community, creating an exchange of mutual respect and support.

Kit Muldoon started the evening with a stunning poetry performance. I was caught up in her emotion to the point that I wasn't aware of what was going on around me. She delivered her performance with energy and conviction. Her honest emotion caught the audience by surprise and that added to the excitement. It's this type of exposure that gets people to seek out more opportunities to hear performances of this medium.

Obviously for me the best part of the evening was when Eric interviewed me, since I was the featured artist this month. I knew a number of people in the audience, but obviously not everyone so I was interested in the questions the audience would ask. What I found as interview progressed is that the questions helped clarify my thoughts about the art and the journey I've taken thus far. They peaked my interest in how others not only view the art, but the process in making the art. There is something altering about saying these responses out loud.

It's easy to think of questions and answer them in your head, but saying the answers out loud and having others bear witness to those responses changes the playing field. It becomes a matter of public record, so to speak, and that helps as I prepare future shows and gave me an entire host of topics for workshops and lectures I give across the country.

You should think about having someone interview you. It doesn't have to be in a big venue. Get a group together and have them all submit questions to the person who will do the interview. Then allow the interview to begin. I believe you'll be surprised (pleasantly) at your responses. It's also good prep if you are planning on going out and doing an artist talk.

If you'd like to consider making this part of your plan for building your art business consider the Artist Working Group that's forming. If you're interested send me an e-mail at greg@artistsuccessstudio.com or give me a call at 720-851-6736, you have nothing to lose and everything to gain!

Wise Words From a Mostly Wise Man

2010-02-01T15:15:00Z

The day has come after months of planning. My show is opening tonight at Dazzle Jazz Club at tonight's First Monday Artist Talk with Eric Matelski. We hung the show on Saturday and there are just a few more details to finish up before I get to spend time talking about what I love, creating textile art and how it reflects my life, my soul, and my aesthetic.

My dad called yesterday (he lives in Dallas) to wish me a great night. We were talking about the show, how I planned for it, and what my personal mission was for creating the work. We discussed the event, who will be performing, and just about the Denver art community in general. Before getting off the phone he said to me, "I hope you enjoy the art". I heard it and then it hit me. My father was having a Yoda moment and I was a Jedi-in-training. He was telling me not to get lost in the moment and experience the art I've been creating. Look at the art, really look at it and see what it has to say to me.

I thought those were profoundly enlightened words. It's as if the great Zen teacher Suzuki Roshi, who wrote Zen Mind, Beginner's Mind, was speaking directly to me. My father's words reminded me to go to the show this evening with a Beginner's Mind, experience the art as if I were seeing it for the first time; this is what will help define and guide the next step in my journey.

If you have the chance to put a body of work up, at one time, in one place, I encourage you to do so. Having the opportunity to see the work with fresh eyes is heart warming, but most of all it is informative. Hopefully it peaks your interest and engages you in the next artistic adventure. Want more artistic adventures while building your art business? I'm creating an Artist Work Group, more to come. If you're interested in building your art business this might be the opportunity that has your name on it. If you're interested send me and e-mail at greg@artistsuccessstudio.com or call me at 720-851-6736.

Blank Canvas

2010-01-30T14:49:00Z

There is something about watching an artist work that's magical. Having the opportunity to get a glimpse into their private worlds is a treat. That's exactly what's happening at the Denver Creative Coop Studio (DCCS). Twelve artists are coming together to create works of art in "real time". They get one night to create their work of art and then tonight 1/30 there will be a show for the art. Eric Matelski, the studio's curator/advisor/cheerleader/art enthusiast is continually looking for new ways to bring art and the public together. The space at the DCCS is set up perfectly for this type of event.

I'm always one who like behind the scene adventures so I went at the beginning of the evening. It was fun to watch the artists begin their paintings, in some cases more than one. They each had their own rituals and nuances as to how they approach the canvas. So having all these artists in one environment, is their a synergistic energy that evolves throughout the evening. My art requires a sewing machine, so I don't have the opportunity to work in a room with other artists unless I'm taking a class. It would seem that many of the artists already know one another so that may have more of an impact on the process then all being in one room (enough rambling).

I always say that having these open paint sessions is like going to the zoo. You get to see artists doing what they do and the viewers can just watch, in some case for hours. I'm sure the artists wouldn't mind if you threw them the human equivalent of peanuts to keep them amused. You can tell at times during my stay that all the artists were in sync because there was a lull in the chatter, only the beat of the music was noticeable. This is the public's opportunity to watch artist do what they do when no one is looking.

My favorite part of the evening was watching the artist's get ready to make a brush/pastel stroke on the canvas of their surface of choice. It was like watching a skier run through the course in their mind before they even leave the gate. You could watch the artists move the brush in the air planning their next move. Other artists warmed up by simply getting in the groove with the very heavy beat of the music. There were times when the strokes were made to the beat of the music.

If you haven't had the experience to see artists Live in action then look for an opportunity to have that experience. If you want to see what artists can do in one evening and meet the man who keeps things moving, then head out to the DCCS this evening and see what inspires you!

Are You Ready for the Smithsonian?

2010-01-29T18:27:00Z

I speak with artists all over the country and many are hoping to have their works in a museum. The ultimate museum for many is the Smithsonian. I'm fortunate to know many an artist who have pieces in the Smithsonian and it certainly is a huge honor. How do you think these artists got their work in the Smithsonian? Do you believe they were discovered by some random act of synchronicity? If that were the case don't you think you'd know more artists who have their work in the Smithsonian?

The other morning, while I was having my coffee, I was watching reruns of The West Wing. In the show Martin Sheen, who plays the President say, "You think there's a room in the Smithsonian for guy who never even tried?" Those aren't my words, but the words of some savvy writers, needless to say it got my attention. I hope it's getting your attention.

What do you think it takes to succeed is the big question being asked. Obviously every artist won't get in to the Smithsonian, but artists can be successful without the accolade. How are you trying? If you asked friends and family about how hard you're trying do you think they'd agree with your assessment, or have they been whispering behind your back? Sometimes family and friends are afraid to share their true opinions because they love you when in reality what you may need is a good whack on the side of the head.

When I was in graduate school, my family therapy professor gave us words to live by when working with people. He said, "Pat them on the back before you kick them in the ass." So I'd like to commend all of you who have been diligent in your pursuits for creating a successful artist business. Now I want you to turn up the volume, just like the gym; it's time to start sweating. I'm looking to put together an "Artist Working Group" for those who are ready to sweat. You can e-mail me at greg@artistsuccessstudio.com or call at 720-851-6736.

See you at the Smithsonian!

Bearing Witness As An Artist

2010-01-25T22:19:00Z

I just got back from hearing a lecture by Dr. David Shneer from UC Boulder about Bearing Witness: Photography of the Holocaust. As artists we think about photography as art, but as artists do we think of ourselves as historians? I believe that artists are historians, political commentators, cultural anthropologists, and entertainers. How many hats do you wear as an artist? How do you juggle all the hats?

Fortunately for me, I believe that I wear the hats simultaneously. I don't seem to be able to separate one role or aspect of my art from the other. All the aspects of the art weave a tapestry that is important. The process of creating the art is important. Understanding my own responsibility as an artist is important. It's part of creating a successful art business, knowing what about your art goes beyond simply being beautiful.

The pictures Dr. Shneer showed the audience were of the holocaust. He warned everyone at the beginning that some of the images would be disturbing, especially if you've never seen pictures of the holocaust before today. He made reference to the famous American photographer, Susan Sontag, and her views on what the American public is and isn't willing to see. Is one of the roles of art to burst the bubble of illusion for those who have a false consciousness?

Where do you see your role as an artist?