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ARTICLES FOR THE MONTH OF SEPTEMBER 2009
What to consider when looking at collective websites for your artwork
The guidelines for a successful art or artist websites are simple: “make it fast to upload, easy to enter, easy to navigate and easy on the eye (no flashy gimmicks.) Navigation and easy-to-view content must be straightforward in order to attract visitors and to keep them there. These are all things that every artist should consider when setting up a personal website. However, what should you be considering when you look at the vast options of free artists’ websites that are to be found on the web? There are many different types, each with its own advantages and drawbacks. Most of them exact fees, either through monthly or yearly payments, through sales commissions or by retaining the rights to reproduce the artwork as posters, cards, prints or giclees. Some of them advertise their service for free, albeit, free is rarely what it appears to be. Most free artists’ websites generate revenues by ‘torturing’ visitors with advertisements, irritating pop-up screens and other obtrusive graphics that all tend to prevent the visitor from getting to see the artwork –your artwork. Many of larger sites also plant ‘cookies’ that can back-track a visitor’s movements on the net and collect personal information. At Artlanow.com we have designed our website so that artists’ work can be assessed quickly and easily. Our Home page is un-encumbered by advertising and pop-ups; it is devoted entirely to selected works by our members work with click-on links to that particular artist’s page for instant viewing of more work. In addition our Homepage at Artlanow.com posts announcements for our members about their own exhibitions and events. Our Artists page lists all the members in a single table. Visitors can browse members’ works as quickly as possible, read resumes and biographies, transfer from one artist to other directly and make informed decisions about whether to contact the artist directly about purchases.
In contrast to many other collective artists’ websites, at Artlanow.com we do not require visitors to join, register, get passwords or fill out any kind of form in order to access your art work. We do not ask them to login every time they wish to look through our artists’ portfolios. People who visit real bricks and mortar galleries are not asked for personal identification and we see no need to demand this from the visitors to our website.
Haven’t learned yet how to sell your Art? Here are some tips about what NOT to do.
Artists have different levels of aptitude and attitude when it comes to selling their art. Some are good business people, some are clever enough to engage a good sales person to represent them; others have good social skills and cultivate personal connections that will encourage acquaintances to buy. The ultimate goal for any artist is to sell the work. A painting is a painting until someone buys it, then it becomes a work of art. Isn’t that the validation all artists seek? Not all artists, unfortunately, even if their work is truly innovative, good, intriguing, interesting and whatever, know how to promote themselves and their art. In fact, there are some, on the contrary who seem to employ techniques designed to NOT sell the art. Here are some amusing and perhaps insightful tips edited from an art business website detailing some things artist should restrain themselves from doing if they want to generate those sales. They might appear to be self evident truths but sometimes an artist’s ego can overcome rational behaviour. How many of the following DON’T’s are in your current marketing strategy?
In your own mind you’re convinced that you are a legend regardless of what your resume looks like, regardless of how many previous sales (or not) you have made. You compare your art to those who are among the world-class greats. Therefore you act aloof and important at your exhibition openings.
You don’t bother to label prices for your art at art shows, exhibitions, in your studio or online. You prefer to force people into the uncomfortable position of asking how much your art costs. Then, when some do approach you with the question, you make a spot judgment on how much they can afford to pay and hit them with a price. At gallery shows you decide who’s worth talking to and who’s NOT worth talking to, based solely on the way they’re dressed. You ignore people who don’t express a sufficient interest in your work.
You don’t give a damn about your resume. Why, you say, should buyers care about who you are, and what you’ve done and accomplished in the past? Let them decide to buy your work, at the price you want, based solely on the work.
You’re overly desperate and pushy trying to convince every person in the room that they should buy one of your artworks and if they don’t they are cretins or don’t understand real art.
You don’t follow up with emails to people who did show some appreciation for your work. (Screw them –they had a chance to buy and missed it!) Why write to them about up-coming shows and opportunities where they can see more of your work and perhaps take the plunge? In fact you go even further, if someone does email you with an enquiry after a show, you wait a few weeks until you reply or don’t bother to reply at all - after all, now that they have seen you for the genius you are – you can treat them with distain; now let them wait.
When discussing with a gallery, dealer or any other representative for the first time to show, sell your art, or advance your career in any way, you impose your conditions and insist on unrealistic pricing. You behave as if you are being magnanimous in allowing them to show your work. You never show any humility or deference to the others professional opinion. You are capable of sending an email to a gallery with the text “I am an Artist” and a link to your personal website. Your assumption is that if the gallery owner knows art he/she will look at your website and ask you upon bended knee to show in his/her gallery.
You complain about others. People are not intelligent enough or sensitive enough to understand your art; you’re as good as …………….; you’re better than……..; art collectors are ignoramuses; nobody wants to buy serious art (since nobody is buying yours.
You get a review in a newspaper or magazine and you contact the reviewer to correct his/her understanding or critique and ask them to reprint a revised version. Even worse, you meet up with them at another show, introduce yourself, and tell them point blank that they don’t know the first thing about art. In general you want to impress everyone you talk to that you know much more about art than they do. Their opinions are inferior to yours.
You price your art higher than art by artists with similar career accomplishments and experience to yours. That way any normal buyers who shop for art with a regard to price (and most do) will never buy yours. If a gallery owner is interested in showing your work, but at prices below what you want, you’ll argue against him/her. You act offended if somebody offers to buy your work at a discounted price.
You always denigrate the work of other artists who are exhibiting along-side you at the same level of representation.
When nothing sells from a show, you blame everybody and everything except yourself.
Of course all our members know instinctively that these are all things to avoid. But I wonder if all artists are not guilty of a few of these Do NOT Do’s from time to time in the frustrating struggle for recognition, appreciation and sales.
Here is a selected number of Calls to Juried Competitions that might interest our Members. N.B. The deadlines are all in October, 2009.
West Coast- Regional Call for Entries open to all artists living in Alaska, California, Hawaii, Oregon and Washington for a juried competition called “On the Cutting Edge: West Coast Collage & Assemblage” to be held from December 11 – February 13, 2010 at Coos Art Museum, Coos Bay, Oregon. Open to painters, sculptors and printmakers over 18. Artists are invited to submit up to 3 collages or assemblage on any theme. There are awards of 1st prize $500, 2nd -$350 and 3rd -$250. All works must be original and completed in the last two years. Digital Collage is not accepted although collages that incorporate digitally created elements are eligible. Works selected by jurors Kay Cambell, Jon Leach and Beverly Soasey must be ready to hang. Fees: non-refundable of $20 for first entry and $10 for 2nd & 3rd. There will be a 30% commission from sales at the exhibition. Send a SASE to Coos Art Museum, 235 Anderson Ave., Coos Bay, OR 97420 or email to cray@coosart.org Phone enquiries to 541 267 3901. Go to their website at http://www.coosart.org for details and prospectus. DEADLINE OCTOBER 9, 2009
This one is in Santa Cruz, California and is an open call for a National Drawing and Sculpture Exhibit sponsored by the Santa Cruz Art league. The exhibition is planned for December 12 to January 10, 2010 and 2 Jurors, (Ms. Jane Gregorius & Ms. Lynda Watson) will grant 3 equal awards. This is open to all artists residing in the US and is an opportunity to show current trends and media in drawing and sculpture. For the drawings any media on any surface is acceptable; for the sculptures any material –weight limit 50lbs. Fees are $40 for up to 3 entries (jpgs) and a 45% commission will be charged on sales for non-members of the SCAL. Send a SASE to Santa Cruz Art League, 526 Broadway, Santa Cruz, CA 95060 or phone 831 426 5787 or get the details at http://www.scal.org DEADLINE OCTOBER 16, 2009
The L.A. Center for Digital Art (LACDA) in downtown L.A. has a call out for an un-juried show called “Snap to Grid.” This is an open exhibit –all entries will be shown- scheduled for November 12 – December 5, 2009. All Digital art and photography submissions will be printed (8.5” X 11”) on heavyweight paper and shown in the LACDA arranged in a grid. Entrants must submit jpgs of original works and multiple entries are permitted. The exhibition is limited to space available. All styles of artwork and photography where the digital process (of any kind) is integral to the creation of the image are acceptable. Digital video stills and screen shots of web/new media also acceptable, as are documentation shots of digital installations and digital sculptures. Entry fee $30/multiple entries are permitted. Contact Rex Bruce at LACDA or go to http://www.lacda.com for details and a prospectus. DEADLINE OCTOBER 19, 2009
Here’s an open exhibition “1st Annual Juried Water Media Show” sponsored by Butte County Watercolor Society for a show to be held at Chico Art Center Gallery in Chico, CA. Juror is Ann Pierce and there are $1500 in awards. All water media works are eligible. There is a 30% commission on exhibit sales and entry fees of $15 - $20. To find out more send a SASE to BCWS, P.O.B. 6594, Chico, CA 95927 or send an email to Amber Palmer: buttecws@gmail.com. Telephone No. 530 570 7343 DEADLINE OCTOBER 20, 2009
From the last Newsletter: Don’t Forget the VIVA Gallery in Sherman Oaks has an open call out to local Artists for “Score VIII 2010” - A Southern California Open Regional Exhibition. The exhibition will be held at VIVA from Jan 6 – Jan 29, 2010 at the gallery on Moorpark St. They are offering cash and merchandising awards. Send in submissions by jpgs or CD (no slides). There is an entry fee of $30 for one or two submissions and the gallery will charge a 30% commission on sales. For more details go to http://www.vivagallery.org or email Carolyn Uhri: cuhri@ix.netcom.com Tel: 818 385 0080 DEADLINE NOVEMBER 16,2009
A financial turn-around for the MOCA
Things are looking up for the MOCA. The Museum of Contemporary Art in downtown LA that was in dire financial straits last year has revealed this week that it has raised nearly $60 million since the beginning of the year. The injection of capital includes a pledge from the Broad Foundation for $30 million, $16.6 million in gifts from trustees, $3 million from individual donors and $6.7 million from the museum’s annual fund. Another $3.7 million is due from trustee subscriptions. Following last year’s staff reductions and cut backs, the new funding has already allowed the MOCA board to announce the election of four trustees (2 renewed and 2 fresh faces). First and foremost we congratulate the museum and we thank all the art patrons who have contributed to maintaining this very respected and important museum of contemporary art. We hope that the financial help will translate into some exciting exhibitions and acquisitions in the coming year.
Arts & Crafts in Venice this weekend
If you’re wondering what to do this coming Sunday, September 27, from 10am to 6pm, drive along to Venice and enjoy the 25th Abbot Kinney Festival. Began in 1984, as an annual community event to celebrate the tradition of Venice as a unique and diverse community and to pay homage to its founder, Abbot Kinney, this event attracts nearly 150,000 people. There are over 300 Arts and Craft Vendors, multiple shows of live music and plenty of good choices for food. Over the years the organizers, the Abbot Kinney Association- have contributed funds towards local beautification projects, provided playground equipment to local schools and funded youth and arts programs. In 2007 the Festival began “going green” and continues to look for ways to lessen its impact on the environment by creating Green Living Areas at the event and by striving towards a policy of zero waste. The festival is free and extends the span of Abbot Kinney Blvd to Main St. If you’re among the environmentally conscious, arts-minded, focused on health and enjoy good family fun this is an event not to miss. Due to the large number of visitors expected to attend parking close by might be a problem - so come early and leave late.
For fuller details about the program and to see a list of exhibitors: www.abbotkinney.org
The O’Keeffe Movie and Mr. Stieglitz
I’m sure that by now quite a few of you have seen the made-for-TV movie “Georgia O’Keeffe” about the artist and her turbulent relationship with the art dealer Alfred Stieglitz. The movie has already shown repeatedly since its premiere and will probably be re-broadcast numerous times in the future. Joan Allen and Jeremy Irons do good work portraying the two antagonists and it is an interesting look at her life, work and her relationship with Stieglitz. From the movie, one doesn’t get a real sense of the important part O’Keeffe played in gaining recognition and acceptance for women in the art world here in the U.S. at the beginning of the 20th Century. Movie and TV script writing is rarely about delivering the truth- it is about packaging elements of the truth to stimulate and retain the viewers’ attention and augment ratings.
Sweet Georgia of the TV version comes across as being less of an aggressive, competitive steamroller than the Georgia O’Keeffe depicted in numerous books about her life. She did not suffer fools gladly, had very little patience for children and did not like being told what to do. Having said that, I suppose that a woman who was not as hard as nails, had virtually no chance of succeeding as an artist in the early 1900’s. So, I guess you could say she had what it takes. Before the 1921 gallery show when Stieglitz exhibited his nude photos of her, O’Keeffe’s nature paintings had had little or no success. As soon as the public perceived her as being Stieglitz’s sex object, her series of paintings of flowers in extreme close up began to take on ‘hidden meanings.’ In light of the Stieglitz nudes, Georgia’s flowers suddenly ‘resembled’ vaginas and sexual symbols. Despite her initial reluctance to go along with the new found interpretations of her paintings she played along, accepting Alfred Stieglitz’s argument that ‘sex sells.’ On the one hand, the promotion of her art was inextricably wound into her relationship with Stieglitz the dealer -and even subservient to it-, yet at the same time her work was fiercely independent and “feminine.” In time, this independence was recognized and Georgia O’Keeffe’s greatest legacy was to break down the barriers that prevented American women artists from joining the ranks of the great modernists.
Although the TV show is about the life of Georgia O’Keeffe, more could have been said about the accomplishments of Alfred Stieglitz in pioneering the changes in American art at the beginning of the 20th Century. Beginning with his little gallery at 291 Fifth Ave, New York where he showed mainly photographs at first, Stieglitz went on to present the first American exhibitions by Matisse, Toulouse-Lautrec, Rousseau, Severini, Picasso, Brancusi and Rodin. These were the first exhibitions of ‘Modern Art’ as we know it today in America. Besides introducing the European modernists to a largely un-appreciative and un-receptive American audience, Stieglitz battled on against the prevailing winds, representing emerging American artists who were adopting the new forms of art and adapting them to their own uniquely American experience. Although history will always remember his personal involvement with Georgia O’Keeffe, Stieglitz did so much more than champion her as a female artist; he was the prime source of energy that opened up American culture to the new ideas of ‘art for art’s sake’, and the removal of social conventions which looked upon art as being a white male domain.
Documents from the Original State Constitutional Convention
Bonhams & Butterfields auction house on Sunset Blvd has two remarkable items relating to the history of the state coming on the block during its October 19, 2009 Fine Books & Manuscripts auction. The first is from the registry for the 1849 California State Constitutional Convention bearing signatures and inscribed by 46 members of the delegation who assembled in Monterey in the months of September and October that year to frame a State Constitution for California. One of the registered delegates was John Sutter, owner of the land where gold was discovered, leading to the famous California Gold Rush. The accompanying document is believed to be a preliminary page that was prepared as a template for a printed version of the agreed-upon Constitution and was to be to be signed by each delegate.
Forty eight delegates attended the convention -only a few, by the way, were native-born Californians - and the often tumultuous deliberations lasted 43 days until the members adopted the State Constitution on October 10. The documents for sale at the up-coming auction have descended intact through several generations of a family with ties to the Santa Clara valley and their estimated value is from $10,000 to $15,000. Public previews, organized in Los Angeles (and New York) to coincide with the 160th anniversary of the State Convention, are expected to pique the interest of historians, museum curators and collectors of historical documents.
Check out Bonhams & Butterfields catalog for the event and mark your calendars if you are interested.
Bob Dylan the Artist
We know him as a musician, songwriter, poet, troubadour and rebel and now, just as he’s back big time with a great new album of music, a lesser known talent of his will be spotlighted next year in Copenhagen at the National Gallery of Denmark (Statens Museum Vor Kunst). Bob Dylan, who has been singing and strumming his heart out for the past 40+ years in so many different styles, has an exhibition of his paintings scheduled to open in the Danish capital next year in the autumn of 2010. The Museum’s chief curator has praised Dylan’s work by saying they “reveal an affinity for some of the modernist masters, not least Henri Matisse works from the 1920’s.”
We wish him success, but without making an judgment about his work, the fact that he is given the opportunity to show his work in a national museum, does reinforce the arguments that ‘a famous name’ opens the doors to everywhere.
How many roads does a (regular) man walk down before he gets an exhibition like this? You can get some kind of idea of Bob Dylan –the Painter - from the 2 works shown below that are both from “The Drawn Blank” series.
“Man on a Bridge” “Train Tracks”
An Artist who likes horsing around
Artists come in all shapes and sizes - and species. In the past, we have posted a few articles here on the Artlanow Artnews/ArtBlog about apes, elephants, dogs and birds who, not only paint, but have also successfully sold their work for high prices. Here’s another bizarre, weirdo story about a different kind of “artist” who spends most of her time horsing around in the open fields. But, when she does put her nose to the grindstone to turn out some fresh canvases, her work has no trouble attracting buyers. Like all artists she is temperamental, paints with enthusiasm, throwing herself head (and tail) long into the creative process with an occasional snort of satisfaction.
Yes, you’ve guessed it –this “artist” is a horse; to be precise, a miniature horse. Four-legged Mercy, lives on a farm in upstate New York (ah! the dream of every artist) and with the assistance of her handler, who places finger paints onto her muzzle, she rubs her talented snout onto canvas or paper as deftly as a two-legged artist would wield the brush. When Mercy was only 12 years old (I don’t know the equivalent in human years) her paintings were already selling for a $100 a piece to delighted spectators who come to see the “artist” perform.
Her signature – a golden hoof –is stamped onto the bottom corner on each work as authentication. I presume this is done in order to stop the Chinese copy cat art factories from turning out forgeries of her art.
Mercy, according to acquaintances, studied under another equine artist, better known for his career in acting. Her mentor, a stud named Rich in Dallas played in the movie Seabiscuit (he was Seabiscuit) alongside fellow actors Tobey McGuire and Jeff Bridges. Between movie roles Rich in Dallas has developed a second career as a painter and taught Mercy many of her techniques and her robust use of color.
Mercy makes a living as a therapy horse, loves the crowds and is super friendly with people. The only time she shows any discontent is when a work she is creating doesn’t come out as well as she would have liked.
Obviously talent such as this quickly finds its way to YouTube so, take a look at the video of Mercy the “artist” at work and decide for yourselves. To me, it looks as if she could do with a lump of sugar to wake her up?
Horse-sh** or horse-play? What do you think? – Like it? Yeah or Neeeeeiiiiiiiiggggggghhhhhh?
A good idea for all those vacant stores –temporary art exhibitions
Here’s an interesting idea that I read about in the L.A. Times today. Palm Springs, CA, like every other city, is suffering from the current economic slowdown and the commercial center has its fair share of ‘for lease’ signs in vacant store fronts. Eager to safeguard its image as an upscale tourist resort local councilors and property owners have come up with the idea of showcasing artists work in the empty window spaces. The city is discussing a plan requiring owners of vacant stores to hang paintings or photographs, or any other artistic embellishment in the windows, as a way of remedying the increasing ‘abandoned’ look along the main street. The proposed program is designed to improve the overall appearance of the vacant buildings while owners look for new tenants –who have been hard to find. Local artists will be invited to showcase their work temporarily and the city will finance the installation. A local teacher presented the idea to the city authorities after hearing about a successful similar project in Philadelphia.
When a commercial street has many empty store fronts, it detracts from the whole character of the street; shoppers stop coming because there’s nothing to see - and that leads to further vacancies.
There are many commercial areas in Los Angeles that could adopt a similar program. Melrose Ave, for example, between La Cienega Blvd. and La Brea Ave has a lot of ‘for lease’ signs hanging in vacant stores. Until a few years ago the area had many art galleries, who were forced out by increasingly high rents during the boom years when the economy was thriving. It was then an upscale area of galleries and boutiques. Now, it’s starting to look a little bit like some of the not- so-nice areas downtown. So, if any of our readers have some influence over local property owners or are ‘in’ with their council members – spread the word! It’s an opportunity to show your work for free and it won’t last long.
Open Call to all Art Lovers and Collectors
There are some initial indicators that the recession is over. Hooray! Let’s hope that from now on, there is only good news. For artists the last year and a half has been difficult –in fact downright depressing. Being an artist might not be the oldest profession in the world but the compromises and incentives that artists have tried to ‘seduce’ buyers during these troubled times have bordered on ‘bending over backwards' techniques (if you know what I mean.) Art is not the oldest profession, but it is probably the toughest. Artists’ academic studies are painfully expensive; on graduation most are prepared to work at their art after a full day at another job, and on top of that, artists drain themselves emotionally into their creativity. In recent months most artists I know have reduced prices, tried all sorts of marketing gimmicks, and cajoled potential buyers with what would normally be irresistible offers - almost all to no avail. Despite their best efforts it’s as if art lovers’ wallets have been glued shut in their pockets.
This is an open letter to all Los Angeles art lovers and collectors. Now is the time to buy Art! Just as everything else will start to sell as the better economic situation creeps in, Art, that you can buy now for ‘peanuts,’ will also return to reasonable pricing. Today’s prices in local galleries and studios are ridiculously low. Works by many emerging and middle level Los Angeles Artists that were selling for $2000 to $5000 are being offered for far, far less. I’m not talking about discounts; I’m talking about ‘give away’ prices. So, pay attention people to the old saying – “buy when the market is low.” To my dismay, over the past few months, I have seen fantastic works of art on sale by talented Los Angeles Artists for prices that are shamefully low and yet there are still no buyers. Artists in Los Angeles are among the most gifted and cutting edge everywhere in the world and their work deserves to be recognized, appreciated and BOUGHT.
Buying Art can be a win-win situation. I’m not talking here about the high end market for the fabulously wealthy. For them Art is first and foremost an investment; just like an investment in shares it can go up or down in value. However, for the average person, looking to decorate his home with affordable art, for someone who is looking to start a collection, buying a piece for $500 or $1000, not only brings enormous pleasure it also has the possibility of accruing in value. An astute buyer, with limited means, can buy great art from a relatively unknown painter or sculptor. The work of an artistic genius sells cheaply simply because he/she is unknown. The work is still fantastic. Remember, buying from an unknown artist, especially at today’s low prices might bring huge profits if the unknown becomes the next hot commodity of the high end art market.
Browse through online Art Galleries like Artlanow.com, go visit your local Art Galleries and Artists’ Studios and dig deep into your pockets. Get those wallets out. You won’t regret it.
He’s a Movie Director as well
I don’t usually write about individual shows and events going on in L.A. Galleries but I’d like to mention the new exhibition by David Lynch who is perhaps better known locally for his directorial work in Movies and TV. Lynch has already had quite a lot of solo show over the years, and in addition to the many venues where he’s exhibited in California and the USA, the Fondation Cartier in Paris put together a retrospective of 40 years of his paintings, drawings, photographs and installations in 2007. The man is a prolific artist in just about every media out there!
Lynch decided to become an artist when he just 14, beginning with classes at the Corcoran School of Art in Washington, DC and later at the School of the Museum of Fine Art in Boston. He later studied at the Pennsylvania Academy of Fine Arts and then briefly in Europe.
The new exhibition at Griffin in Santa Monica opened last weekend (Sept 12). It was organized in collaboration with Corcoran and presents a lot of Lynch’s newer paintings. There are about a dozen works on display, mostly large, all weird, witty and as twisted as you’d expect from a man who has gained a reputation for innovative and bizarre ideas in film and on the canvas.
The exhibition is well worth a visit. It has a certain sense of the theatrical, with the some of the paintings incorporating twinkling electric lights and surrounded by massive custom-made frames that truly enhance the artwork. Apparently the largest piece weighs about 300 pounds including the frame. The mixed media works include some really interesting elements -whimsical, witty and thought provoking items - and they work well in all the pieces.
Moving to Los Angeles in 1970, David Lynch has maintained a studio in the Hollywood Hills and spends his time creating his artwork between his TV and movie schedule.
An exhibition with all the box office ingredients: death, sex and humor
How many of you went to see “Body Worlds” when it was here in Los Angeles? “Body Worlds,” for those who don’t know, is an exhibition of real human bodies –cadavers that have been preserved by a special process known as ‘Plastination.’ The technique and the idea to show the cadavers is the brainchild of Dr. Gunther von Hagens who has been causing uproars with his exhibitions all over the world. Many people find the idea of exhibiting dead bodies rather repugnant, however, having visited the exhibition a few years ago, I found that the plastination process transformed the bodies in a manner allowing the viewer some ‘distance’ from the trauma of real bodies, death and dissection. – I thought the show was quite good; interesting and educational. Dr. von Hagens has also performed ‘live’ dissections in some countries on cadavers before paying audiences, causing, as usual a public furor and some legal dilemmas. The latest planned exhibit is already causing waves since it will show cadavers demonstrating various sexual practices. Already a German court has banned a display by the macabre doctor showing a pair of skinned cadavers in a unique sexual position. After the ban, and in order to try to circumvent local decency laws, von Hagens sawed off the upper parts of the two bodies, explaining that since it was the expressions on the faces that mainly caused the court to implement the ban, the decapitated- truncated bodies might be less offensive to the Judges.
Dr Gunther von Hagens, a specialist in anatomy was born in 1945 in an area of Poland under German rule at that time. His family fled the region towards the end of WW11 to avoid the Russian occupation. They eventually settled in Greiz, East Germany. Dr von Hagens began his medical studies in 1965, but being disillusioned with the Communist regime attempted to flee to the West in 1969. He was captured and spent some time in prison before he was later transferred to West Berlin in an arranged exchange. He obtained his medical degree in 1973.
His latest planned adventure has all the necessary ingredients for box office success: death, sex and macabre humor. If the new show is allowed to go on as he plans it, I’m not sure which queue will be longer - the visitors or the protestors.
Dr. Von Hagens & the Loving Cadavers
Writing your Artist’s Statement
Artists who show their work in real or virtual online galleries like Artlanow.com almost always prepare a written artist’s statement for visitors, admirers and potential buyers to read. You could say that the work on display is the artist’s absolute ‘statement’ - why add text? Shouldn’t the work be understood by each viewer in his/her own way without commentary?
Art has never just pure aesthetics – it has always included elements of allegory, message, concept, and hard-to-comprehend ideas. Modern contemporary art, in fact, relegates aesthetics to the back burner totally, emphasizing the other, not so easy to recognize components that constitute art nowadays. The written statement, then, can be an important tool for the artist to help the viewer appreciate the artist’s perspective, concept, the preparation leading up to the work, and the individuality of the artist’s vision.
Unfortunately, being an inspired and good painter, sculptor or photographer does not necessarily mean that you’re a good writer. How do you begin to write your artists statement? How do you overcome the dreaded writers block? Before setting pen to paper or (in modern terms fingers to keyboard), give some thought to what your art work is about. Jot down some preliminary ideas. Is your art thought provoking, edgy, surrealist or whimsical, or maybe so different that is defies categorization? Is the work part of a series developing a theme? Whom or what has influenced this work and you as an artist? What does your work mean to you? Artists, for some reason love, to quote great artists of the past, so, maybe start with a quote that has inspired you and your work. A summary of your philosophy on life, and how art has changed your views on life in general, helps the viewer of your work see it through your perspective. Try summing up your style and technique and talk about what motivates you the most while creating your art creation.
Start with simple words that best describe your art and inner thoughts then go back to edit them into more refined statements. Remember though, people are not interested in buying your prose, so you don’t have to worry about grammar and syntax and don’t worry about making mistakes (‘Word spelling’ will correct most of your errors.)
Your artist’s statement is best written by yourself because of the personal touch you can provide to it. You know yourself the best - nobody understands your art better than you. It’s your passion and vision, your chosen lifestyle and your soul you’re bearing in your art. However, if you really can’t find the words to write yourself, ask someone who’s good with the pen, knows you well, and knows what you are really about.
If you are pretty good with words, make sure you don’t ‘overwhelm’ the readers with too much literature. A one page statement is usually sufficient to get across your life’s outlook. Don’t be too technical and don’t use terms that only fellow artists would recognize. Let the words flow; write it as if you’re conversing with your spectators.
Just as your art work takes new paths as you progress with it, your artist’s statement should also not be static. Update it and change it according to the changes in your creative vision and to the events that influence your inspirational mindset. Prepared properly, your artist’s statement can be the swaying point, determining whether a collector will buy your art and follow your career as an artist.
Los Angeles Artist Paul McCarthy has a show in preparation for next year
As many Los Angeles galleries prepare now for the coming Fall season, the local branch of L&M’s, a high end New York gallery, has already started thinking about next year’s September exhibition by lining up a show by Los Angeles based artist Paul McCarthy. McCarthy, who is internationally known for his ‘in your face’ performance art, installations and sculptures was born in 1945 in Utah but has spent most of his adult life in Los Angeles. He obtained his MFA from USC and has taught video and sculpture at UCLA. Although he began as a painter, he moved into sculpture and then into ‘transgressive’ performance art, using grotesque humor in wild performances and bizarre installations to deride social conventions and family values. In the 70’s he made a name for himself with video installations of himself smearing his body with paint, ketchup, raw meat and even a piece of crap (yes, feces!) Over the years he has used his body as a paintbrush or canvas, incorporated his own body fluids into his works and even caused himself bodily harm while executing some of his more spectacular performances. His sculptures have been erected and installed all over the world, generally causing public outrage. In short, he is quite a character and his art, whether you like it or not, deserves attention.
Since the MOCA put on a retrospective of his work in 2000-20001, McCarthy has faded a little from the Los Angeles art scene. His big project for this year’s summer has been installing a park full of his inflatable sculptures in Utrecht in the Netherlands, and he is “quite excited” about the opportunity to show in his home town at the new L&M Arts, which is currently undergoing renovations and construction work at the location on Venice Boulevard.
The new refurbished gallery will consist of two connecting buildings, each with about 1,200 square feet of exhibition space and it’ll be interesting to see what the curators and McCarthy come up with for the show. A whole year to wait, but it’ll be worth it.
Celebrating L.A. with “Lights on L.A.”
If you’re downtown in the evening you still have time to take in “Lights on L.A.”, a public art event celebrating Los Angeles-area artists. The installation has been on display in Pershing Square throughout August and comes down on September 18. The project is a composition of CFL light bulbs that have decorated by individual artists, and then assembled into a single unified exhibition. This temporary homage to Los Angeles artists has been timed to coincide partly with Pershing Square’s free summer concert series and is illuminated every evening at the same time as the city street lights. The dazzling array of lights infuses the square with mood and ambience in an uplifting spectacle of light that is worth experiencing.
The project was developed and organized by Tarryn Teresa Gallery in downtown Los Angeles in collaboration with Art Squared Gallery as a way of focusing attention on the arts during these difficult financial times. It serves as a reminder to the public of the important role the arts have made in the transformation of the downtown area and of the vital contribution the artistic community gives in the successful rejuvenation of urban developments.
In the years before the financial crisis, Gallery Row in Downtown Los Angeles was instrumental in the rejuvenation of the city core from a strictly business area to a thriving residential and commercial center.
After the event, a book is to be published commemorating the installation, featuring photographs of each light bulb and statements from the participating artists.
YouTube –another tool for self promotion
YouTube has some interesting stuff in its Art section. There are videos that teach specific painting techniques, give insights into art history; videos that discuss the life and works of particular artists and videos presentations about art movements. A quick browse of Google keywords shows that searches for modern artists dominate the ratings with searches for painting tips coming in second place. Artists who feature high in searches are Picasso and Van Gogh while another popular search topic is ‘watercolor painting tips.’ It seems that besides the instructive and educational video presentations about modern masters and movements, just about every living artist has come up with some footage of his/her latest work. And why not? An artist should explore every opportunity and every avenue; a well-done video presentation of yourself and your artwork is a good and effective way to enhance your profile.
If you are considering taking the YouTube way, remember that a well thought out and well prepared video can help you get your art across to the general public; a boring, badly filmed and totally uninteresting 5-minute footage will be useless. We have all heard about the successful YouTube videos that have been forwarded and traveled around the globe within 24-48 hours, viewed and appreciated by millions of spectators. Of course, they are few, but if you have the necessary qualities and if your art is ‘different’ you might be able to use YouTube to great effect.
Some important points to remember with YouTube are that it attracts mostly viewers that are not representative of traditional art followers. It is mainly, but not entirely, for the younger generations of internet users and this is reflected in the types of art that are searched for, and can be found, on YouTube. There is a clear bias towards more modern types of art, dating from impressionist up to modern day. Indeed, contemporary known artists like British Graffiti Innovator Banksy and American Jeff Koons generate more interest than a classically appreciated artist such as Leonardo and Rembrandt. Older internet surfers tend to still prefer books and hard copies of information for learning about art history. (Older artists, by the way, also prefer the written word in gaining knowledge to help in their own works.
YouTube is another tool for you to use in the game of self-promotion, so give some thought to how you can get yourself and your art on the stage. Lights, quiet on the set and ACTION. By the way, any of our members who have a video on youtube or else where can send us the link/code and we'll add it to your web profile at Artlanow.com
Word of Wisdom (?) for Artists
The true Artist lets his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art (George Bernard Shaw: 1856-1950).
According to an opinion now widely held, paintings are not highly valued nor achieve any reputation while the artists who did them are still alive; it is as though death’s fatal scythe is essential to establish the value of an artist (Vincenzo Carrducci: 1576-1683).
The only thing worth doing in art is what’s never been done (David Salle: 1952 & still going).
A painter paints a picture with the same feeling as that with which a criminal commits a crime (Edgar Degas: 1834-1917).
I do not repudiate any of my paintings, but there is not one of them that I would not redo differently (Henri Matisse: 1869-1954).
Artists who seek for perfection in everything achieve it in nothing (Eugene Delacroix: 1798-1863).
When inspiration doesn’t come, go halfway to meet it (Siegmund Freud: 1856-1939).
An Update on the Gallery Theft Posted last Week
Officials say that Matthew Taylor, a Florida art dealer, suspected of stealing paintings from the L.A. Fine Art Gallery in Los Angeles has surrendered to police in Vero Beach, Florida. This announcement comes after we published an article last week about his alleged theft and resell of art works while visiting a gallery here in L.A. He has been booked for grand theft and released on bail. His attorney says his client is innocent.
Free the innocent and let justice been seen for the guilty…!
Give your informed opinion at the next event
The Artlanow team has been to hundreds of art openings. Most people at these events spend a bit of time silently looking at the work, perhaps muttering a few words of appreciation or disapproval to a close companion, and then, glass in hand will engage in topics of conversation having nothing to do with the art on show in order to pass the time. Why is it that art exhibition attendees are rarely prepared to discuss openly their opinions of the artist’s work? Why is it that one rarely hears an opinion, boldly asserted in a clearly audible voice at an exhibition or in a gallery or at a museum? Are we intimidated by such an elegant subject as fine art that we fear to sound uneducated when it comes to our own assessment? Do we confine our own opinions to hushed tones because, if called upon to justify them, we have no other supporting argument to justify them than “I like it – or I don’t like it?” Wouldn’t it be nice to be able to express an in-depth opinion like a ‘real’ art critic? How do we transform our casual armchair criticism from simplistic answers such as “I like it/ no, I don’t like it” to the articulate and confident opinions of a real art connoisseur?
Furthermore, here’s something to think about: shouldn’t every artist be versed in the skill of art critique, for without it, how can he/she critique his/her own work let alone begin to express an opinion about somebody else’s?
Here are a few basic tips in analysis: a better eye leads perhaps to a better understanding and ultimately to the ability to express more confidently an informed opinion.
In order to describe a work you must, first, really look at the piece. Most of us tend to absorb the overall aspect of an artwork without concentrating on the details however, when you scrutinize the details and ponder them to yourself, it will be a lot easier to speak about what you see.
Analysis is systematic. It is rather like taking apart like a jigsaw puzzle, while examining the elements that make up the piece. When you observe an artwork break it down into its components. Are the colors discordant or harmonious? What is it about the lines that interest you? Is the composition of shapes or patterns balanced? Is there a focal point and is there a message that the artist is trying to convey? When you’ve (dissected) analyzed the details, synthesize them (put the pieces back together) and see how the individual elements have affected your initial observation of the whole.
When these steps have been completed, it’s time for a bit of reflection. What do you think the painting is about? What do you think the artist was trying to say to you as an individual? Remember, simple statements, such as “I think his use of composition is outstanding” or “I’m excited by the overuse of bold colors,” or “This landscape reminds me a painting by so and so” are valid personal interpretations – especially if they come after you taken the time to scrutinize, describe and analyze to yourself.
The important thing to remember is that your opinion is as solid as anyone else’s. The difference between most art lovers and the professional art critics, (apart from the fact that they are paid to give an opinion) is that the art critics are courageous enough to share openly and in a loud voice their opinions. It’s worth considering that there has never been a single work of art that has universally been loved or detested, so whatever your opinion, you can always be sure to find others who share it.
Don’t be daunted by peer pressure. One Sociology experiment devised many years ago involves putting a new student into a classroom where a teacher asks a simple question requiring either a yes or no response. After the question, the teacher begins to ask each student in the class to reply. One after another each student gives the same reply –which is, in fact, the incorrect reply. At last the teacher asks the only student in the class who has not been previously told and prepped for the experiment to give his reply. Feeling pressured by the fact that every other student in the class has given the same reply, the last student -who is unaware of the purpose of the experiment - almost always gives the same false answer.
Next time you’re at an art opening remember: look, describe, analyze, form an opinion and then take courage to hand and work your opinion into the conversation.
Having your Art faked is also a measure of success
Chinese copycat studios turn out Leonardos, Van Goghs, Joan Miros, Warhols and Mandy Wilkinsons by the thousands. Mandy Wilkinsons, you ask?....... Welsh artist Mandy Wilkinson, like all artists, has dreamed of having her artwork featured in the same lists at the great masters and offered for sale alongside “Mona Lisas,” “Sunflowers” and other universally known works. She had always hoped one day to see her work in a renowned gallery, hanging alongside other contemporary greats. Unfortunately, she has discovered that she has achieved a certain claim to fame without much effort on her part. 38 year old Ms. Wilkinson is now the most copied living British artist since thanks to the Chinese art factories that have latched onto her work and discovered that her fakes are generating very profitable sales. Fake paintings bearing her name are found on some of the Chinese-based art websites offering “real’ fakes to customers all over the world. Ms. Wilkinson, an abstract painter, who is far from being a ‘known’ artist in her homeland (though things might begin to change now!), was plucked from obscurity by the operators of a massive copycat art factory in Guangdong who have set some artists in their workforce to churning out original reproductions of her work.
Thousands of paintings carrying the purported signature of Wilkinson are circulating around the globe, creating manifold problems for the artist, whose genuine work is priced from £2,000 to £6,000. Hundreds of people have bought fakes from unscrupulous middlemen and galleries after being told that they were originals by a well known and reputable artist.
Fake Wilkinsons have turned up in London's Portobello Market and as far afield as New Zealand and in the USA. Some provincial galleries, including one in York in the North of England, have had to refund customers who had been told the works were genuine.
Ms. Wilkinson has had emails from around the world from people saying how pleased they were with the purchase of a particular painting. The emails often ask her for information about the title or to ask about commissioning another piece. Since she never signs her own work on the front she is able to ascertain very easily if a work is genuine and has had to disappoint virtually all the enquiries by telling the person that the work is not by her.
Copies and reproductions of Dalis, Da Vincis and Degas’s are readily recognized as such, and very few people are fooled, however for a contemporary artist without a high profile the buying public cannot know the real paintings from the fake and are more easily taken in. Unfortunately for Ms. Wilkinson, when online buyers have paid $100 for a fake Wilkinson, they are often dissuaded from paying $4000 in order to acquire a genuine piece.
The artist, who only obtained gallery representation this year, graduated in 1994 from the Cumbria Institute of the Arts and has struggled since to gain some kind of reputation. Perhaps the old saying that any kind of publicity is good publicity will help her in this case.
Her distinctive abstract pieces are done in an eye-catching style, playing on the contrasts between the three-dimensional and two-dimensional worlds, often with stark geometric shapes that stand out boldly against backgrounds of explosive vibrant colors.
The Chinese art copying industry produces more than five million paintings each year with local artists being paid about $5-$20 for each reproduction (depending on the quality.) The first canvases carrying Wilkinson's name, appeared a decade ago but there has been a rapid acceleration in the quantities appearing on the market since 2005.
The owner of Gallery at 94 in London, which now represents Wilkinson, believes that Mandy is probably the most ripped-off artist working today. There are now thousands of these canvases coming out of China with her supposed signature and it creates a real problem for her genuine work.
At artLAnow we hope that the successful sales of her fakes will help Ms. Wilkinson achieve a greater measure of success with her real work. Although every artist seeks genuine recognition, some might be flattered and find comfort in knowing that they are being faked and forged. That too is surely a measure of success.
A Fake Wilkinson
Los Angeles Artist Ed Ruscha has another award to put in his studio.
The Americans for the Arts has announced the recipients of its 2009 National Arts Awards, to be given out at a ceremony in New York next month on October 5. Ruscha, aged 71, who lives primarily in LA has already a drawer full of prizes and will receive the Artistic Excellence Award.
Ed Ruscha was one of the pioneers of the Pop-art movement in the 1960s. His most famous works depict various aspects of Southern California life, including the abundance of billboards and other text-based signage. In past years the Americans for the Arts organization has honored other visual artists such as Jeff Koons, Cindy Sherman, and Chuck Close.
Ruscha will be joined on the podium by Robert Redford, who is to receive a lifetime achievement award for his work in the movie industry as an actor/director. Author Salman Rushdie is being honored for his contribution to the arts. Other awards are distributed for achievements in entrepreneurial and philanthropic activities and artistic endeavors.
The Americans for the Arts is a non-profit organization with an annual budget of $9 million whose mission is to advance the arts and humanities on a national scale.
The LAPD Art Theft Department has a new case to solve
As of today, Sept 3, 2009, the Los Angeles Police Department Art Theft Detail is searching for art dealer Matthew Taylor, 41, domiciled in Vero Beach, Florida. An arrest warrant has been issued for Taylor for theft and receiving stolen property. The warrant is in connection to a Granville Redmond painting allegedly stolen from the L.A. Fine Art Gallery in Los Angeles. The hearing judge has set bail has at $500,000.
Taylor is a known art dealer in various art galleries, and has often obtained art on consignment. In October of 2006, Taylor visited the L.A. Fine Art Gallery in Los Angeles where he allegedly took advantage of the trust, afforded him by the personnel, to remove a valuable painting out of a storage room that is not accessible to the public. He then went to an art show in Santa Monica where he offered the painting for sale to William Karges, an owner of art galleries in Beverly Hills and Carmel. Apparently, Taylor offered the painting for sale out of the trunk of his car in the parking lot, stating he was selling it on behalf of his mother.
Mr. Karges paid $85,000 for the painting and re-sold it to a client with a sizeable for over $236,000. The painting was not discovered missing and reported to the police until after Karges had resold it. Detectives posted a crime alert on the LAPD website. Karges gallery personnel stumbled upon the alert in 2007 and contacted police.
After a lengthy investigation, detectives obtained an arrest warrant for Taylor in 2009. However, before Florida police could respond to the warrant and take him into custody, Karges’ attorney had inexplicably tipped off Taylor of the criminal charges filed against him. As a result, Taylor was no longer to be found at his residence and police have thus far been unable to locate him. His lawyer has tried to arrange for his surrender on several occasions but Taylor has repeatedly failed to appear before the authorities.
During the investigation, L.A. Fine Art Gallery owners recalled several other thefts of art that coincided with visits to the gallery by Taylor. In 2004, paintings by Johann Mertz and William Malherbe, valued at $40,000, were stolen from the front showroom. A $20,000 Lucien Frank painting similarly disappeared from the showroom in 2006. Matthew Taylor had visited the gallery during both time periods.
LAPD Detectives believe that Taylor has probably succeeded in absconding with artworks from other galleries and would like to speak to anyone else who may have been victimized. Matthew Taylor has also used the name Matthew Taylor Nelson.
Anyone with information about Matthew Taylor’s current whereabouts can contact LAPD’s Art Theft Detail at 213-485-2524 or during off-hours, calls may be directed to a 24-hour, toll-free number at 1-877-LAPD-24-7 (527-3247.)
Stolen Painting by Johann Mertz
Art restorer uncovers a secret member
An art restorer at the Louvre discovered a secret while cleaning a 17th century canvas by French artist Nicolas Poussin. Concealed beneath an extra layer of paint and a couple of centuries of accumulated grime and dirt, the restorer’s hand work revealed a fully erect penis on the painting entitled “Hymenaios Disguised as a Woman During an offering to Priapus.” The upright member of Priapus, the fertility god was probably painted over in deference to the demands of the Catholic Church when Poussin executed the work in about 1635. The discovery was made by a Brazilian conservator who has been working on the canvas in preparation for an up-coming exhibition of the work at the Museu de Arte de Sao Paulo on September 8. The painting and Priapus have been restored to their former glory. The hidden phallus, considered by experts to be an adjustment for modesty, is not an uncommon thing for the period when the church excerpted artistic censor over what was acceptable for public viewing.
Juried Exhibitions & Competitions Deadline September 2009
Projekt30 is taking submissions for the October 2009 online exhibition. Projekt 30 is an artist-run arts organization dedicated to promoting emerging artists. The exhibition will include thirty artists; invitations will be sent to over 30,000 galleries, collectors, and fellow artists. Visitors have the option of contacting any participating artist with feedback or opportunities. As of November 2008 more than 200,000 messages have been sent to participating artists. All artwork submitted will be presented online prior to the exhibition so visitors may help select which artists will be included. There is $40 fee for 10 images. Free submission for Projekt30 members. Prospectus: http://www.projekt30.com/prospectus.html. If you have any questions you can contact Justin Blische at email: admin@projekt30.com. DEADLINE: September 1, 2009.
The Arkansas Pastel Society announces a call to artists for "Reflections in Pastel", an international exhibition to be held Dec. 4, 2009 - Jan.10, 2010 at the Arkansas Arts Center Community Gallery in Little Rock, Arkansas. There are $5000 total cash and prizes with $1500 for best of show. Open to any artist over 18 years of age. Work must be at least 80% soft pastel. There is a $35 fee for non-members; $30 for APS members. Visit http://www.arkpastel.com for a prospectus, or send SASE to: Susan Hurst, #9 Roanne Ct., Little Rock AR 72211. Enquiries? Please Contact Susan Hurst at hurstgallery@yahoo.com. DEADLINE: September 5, 2009.
The Soundry in Vienna, Virginia announces a call to artists for a juried art show from Sept 26th-Oct 24th entitled “12 Angry Women.” Among the Awards will be: Jury's Choice, People's Choice, & TBD. Artwork in the show will be submitted by male artists only and the jury will be comprised of 12 female art professionals. There is no theme or restriction based on subject or medium, and entry is open to non-Soundry-members as well as artists who are not local to the DC Metro area. All submissions must be made to The Soundry digitally via email to melissa@soundry.net. All selected artwork must be physically received at The Soundry no later than September 21st. There is a $30 fee for up to 5 submissions. For prospectus, visit http://blog.soundry.net/2009/07/call-for-entries-12-angry-women/. Questions? Please contact Melissa Branin at melissa@soundry.net or call 703-698-0088. DEADLINE: September9, 2009.
The Midland Center for the Arts in Midland, Michigan announces a call to artists for an indoor art fair November 21 & 22, 2009. Handmade original work only will be accepted. No commercial kits, molds, patterns, plans or prefabricated pieces allowed. Jewelers must be the designers and makers of their work. Purchased, facet cut gems may be used. Assembled, prefabricated jewelry is not allowed. A process statement would be helpful. Commercial prints of photographs using non-photographic methods such as 4-color printing or color copy machine are not allowed. Jury fee: $25/medium $5/additional medium; Fee for single booth: $130 or $250 for double. For prospectus, visit http://www.mcfta.org or send a SASE to: Alden B Dow Museum Holiday Art Fair, 1801 W St Andrews Rd., Midland MI 48640. Questions? Contact Emmy Mills at mills@mcfta.org or (989) 631-5930 ext. 1401. DEADLINE: September 9, 2009.
“Functional and Sculptural Teapots" is a juried and invitational exhibition to be held December 5-27, 2009 at JRB Art at the Elms Gallery in Oklahoma City, Oklahoma. This exhibit will showcase some of the best examples of contemporary teapots, in a variety of media, being created nationally. There will be two purchase awards. Jurors: Charleen Weidell, MFA & Barbara Broadwell, MFA. Each artist can submit up to three entries with one image and one view of each object. Works produced in any of the craft media: clay, fiber, glass, metal, paper, wood, or any combination of craft media, are acceptable. Submissions are limited to a weight of no more than 75 pounds per entry, and must be able to fit through a normal size door. All work must have been completed within the past three years. Entries must be submitted on CD in JPG format. All works must be for sale. There is no entry fee, however, the gallery will be charging a 50% commission on all works sold. If you have any questions please contact Joy Reed Belt, Ph. D. at jreedbelt@joyreedbelt.com or call 405-842-6336. DEADLINE: September 10, 2009.
Allied Artists of America announces a call to artists for its 96th Annual National Exhibition, November 13 - December 1, 2009 at the National Arts Club Galleries in New York, NY. They are offering $23,000 in cash awards and medals. This exhibition is open to all artists working in Oil, Watermedia, Pastel, Graphics and Sculpture. Submissions can be made with slides or jpegs. Please visit http://alliedartistsofamerica.org/prospectus.htm for prospectus, or send a SASE to: 19 Springtown Road, White House Station, NJ 08889. DEADLINE: September 14, 2009.
The Louisiana Art & Artists Guild announces a call to artists for the "40th Annual River Road Show", to be held from December 2, 2009 until January 29, 2010 at the Louisiana State Archives, 3851 Essen Lane, Baton Rouge, Louisiana. They are offering $2,800 in cash awards plus additional merchandise awards. All USA artists, who are 18 years and older are invited to submit any original two-dimensional art except photography or digitally-created/enhanced works. There is a $35 fee for 3 entries and $5 for each additional submission up to maximum 10. For prospectus, visit http://laag-site.org/RRS_Prospectus_09.html or send a SASE to: June Tuma, 318 Stanford Avenue, Baton Rouge, LA 70808. If you have any questions, please contact June Tuma at junetuma@gmail.com or call 225-769-2389. DEADLINE; September 14, 2009.
The International Society of Acrylic Painters invites artists to submit images to their Online Show for Acrylic Painters. The exhibit begins November 1st. $3000 cash min plus merchandise. Entrants must be 18 years or older; Works must be at least 80% Acrylic Medium on any surface; digital entries only, 800 pixels on the long side, tiff or jpeg format, 300 dpi resolution max., 72 dpi min. One image per entry to: Webmaster@isap-online.com. Visit http://www.isap-online.com/exhibitions for details. $20 ISAP members; $25 non-members. Questions? Contact Evelyn Peters at artgall@artgally.com or 831-466-0311. DEADLINE: September 15, 2009.
Infinity Art Gallery, an online gallery, seeks entries for an online juried art exhibit, October 15, 2009 to April 15, 2010 at www.InfinityArtGallery.com. Awards: $2500 USD total. Open for artists everywhere to submit. Artists must be 18 years of age or older. Our intention is to choose the very best art in terms of composition, technique, concept and overall excellence regardless of style or medium. Video/film/audio media will not be accepted. All entries must have been created within 36 months prior to the deadline. Publishers, galleries, agents, and collectors may not submit artwork on behalf of artists. There’s a $25 entry fee and you can submit your artwork online at http://www.infinityartgallery.com/howto/prospF09/ DEADLINE: September 15, 2009.
The Center for Fine Art Photography in Fort Collins, Colorado invites photographers working in all mediums, styles and schools of thought to participate in "Art in Nature", an exhibition slated for Dec 4, 2009 till Jan 9, 2010. Awards: $600. This competition is open to photographers, world-wide, to amateurs and professionals. There is $35 fee ($20 for members) for the first 3 images, with an additional $10 for each image after that. Download prospectus (PDF format). If you have questions, please email cfe@c4fap.org or call 970-224-1010. DEADLINE: September 15, 2009.
The Kevin Milligan gallery in Danville, California announces a call to artists for “Imagine California Image 2009”, an open juried competition of two dimensional works, October 17 - November 18, 2009. There is $500 in awards. Juror: Philip Linhares, Chief Curator Oakland Museum. All entrants must be 21 years of age. Painting, Collage, and Mixed Media (no photography) will be accepted. Maximum size is 26"x32" (including frame). Entries should be submitted by CD. Describe how each submission relates to California. All works must be for sale. Accepted entries must be hand delivered on October 8, 9, or 10, 2009 during the hours of 10 a.m. to 8 p.m. $40 for 3 entries. For a prospectus, please call (925) 309-4648 or email kevin@kevinmilligangallery.com. DEADLINE: September 19, 2009.
The Climate/Gallery in Long Island City, New York City, New York has a a call out to artists. Awards: best of show, representation opportunities. Online application only: http://climategallery.com/. All artists are welcome. Each artist who submits work will be accepted into the exhibition of their choice if they complete the application process before the posted deadline for that exhibition, or before the exhibition is filled. There is $35.00 entry fee.
The First DEADLINE: September 21, 2009.
"The Worldwide Photography Gala Awards." There are over $12,000 up for grabs in awards and grants, book publications and an exhibition in Madrid, Spain and Online. This is open to all professional and amateur photographers. Submissions accepted in color and black and white; digital and traditional. This event will also benefit the Save the Children alliance. A $30 fee for the first three images with $10 for additional images. The organizers are offering an Early Bird discount until July 26th. Online submissions can be made at http://www.thegalaawards.com. Please contact Victoria Hardy-Werbin at contact@thegalaawards.com if you have any questions. DEADLINE: September 27, 2009.
“Art Buzz” announces a call to artists for the Art Buzz 2010 Collection International Hardcover Publication. Juror: Alan Rowe, Editor. The juried competition is open to visual artists, world-wide, (must be 18 or older) who work in any visual art media. You can submit 3 images for a fee of $35. For prospectus, visit http://www.artbuzz.org/competition.html. Questions? Contact Alan Rowe at mail@artbuzz.org DEADLINE: September 30, 2009.
Center Gallery in Wichita, Kansas announces a call to photographers for the "2009 Hot New Pics Show", that will be held from October 30 until November 20, 2009. A $250 cash award will be given to one photographer, designated as the "Hot New Pic(k).” This is open to all photographers - local, regional, and national. The exhibition will focus on the creative exploration of the medium of photography. All works should be ready to hang. Submit works in jpeg format on CD: 300 dpi, no larger than 3000 X 3000 pixels. Submit up to 5 images - $35, $5 for each additional image. Prospectus at http://centergalleryonline.com/call_for_entries.html or send a SASE to: Center Gallery, P.O. Box 1655, Wichita, KS 67201. Contact Linda Robinson with questions at info@centergalleryonline.com or 316-269-1250. DEADLINE: September 30, 2009. |
The Visual Arts Center of New Jersey announces a call to artists for the "24th International Juried Show", January 15 - March 19, 2010 in Summit, New Jersey. The Juror is Susan Kismaric, Curator for the Museum of Modern Art. There is a special Best In Show award: $1,000 prize and lunch with the juror + (3) Merit Awards- $200 each; a Painting Award- $100 and a Photography Award- $100. This exhibition is open to all artists in all media from across the United States and abroad. Prospectus (PDF format): http://artcenternj.org/files/juryshow10.pdf or send SASE to: Visual Arts Center of New Jersey, 68 Elm Street, NJ 07901. $35 entry fee. Questions? Contact Jennifer Ayres at jayres@artcenternj.org or call 908-273-9121. DEADLINE: October 1, 2009.
The Coffee Gallery in Altadena, California is accepting submissions from Southern California artists for the 2010 calendar year for monthly exhibits in the main room and conference room. Each month, one artist will have their work on exhibit in both of the rooms, OR one artist will exhibit in the main room, and another artist will exhibit in the conference room. Artists must have enough pieces to "fill" at least one of the rooms. All work, in any media will be considered as long as it can be safely hung on the wall. Artists MUST be able to drop off and pick up artwork in person. No shipping of artwork is allowed. The Curator of The Coffee Gallery, Katherine Carvellas, will be reviewing and selecting the submissions. For prospectus, visit http://www.funkylittlecoffeehouse.com/gallery_prospectus.html or send a SASE to: The Coffee Gallery, 2029 N. Lake Ave., Altadena, CA 91001, Attention: Curator. There is a $30.00 entry fee. Please contact Katherine Carvellas at kcn2cats@yahoo.com DEADLINE: October 1, 2009.