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Tag: working artist
Thoughts from January 2023
I want to start with a note to say thank you for being here. Thanks for reading. Thanks for supporting my studio and growth as an artist. I’ve found it hard to share about my artwork since mid-2022, and I realize now that it is because things are in a state of transition. My artwork is changing and what I want from my career is changing. The large fiber collage pieces I created in June unlocked something new in my artwork. I can feel the work resonating with me, and with others.
It’s exciting. But it’s slow, too. I’m not sure how to transition to making large work in my current studio. I’m not sure who the new audience will be. I’m not sure how to fund it. I’m working it out, though. Stick around, I’m hopeful 2023 will be a good one.
-DC
PS. In today’s email, I’m sharing a few of the things I’m thinking about in relation to this new work. Sticking with the theme of change, I’m not sure what my studio emails will look like moving forward, but I love the idea of connecting you with the things that are inspiring and exciting me in the studio.
Elena del Rivero
This year I came across the work of Elena del Rivero. I am most drawn to her work with the dishtowel. She has been working with the dishtowel form since the 90s, including the work above made from handmade paper, pristine at first and then worn down on the floor of her studio before being reassembled into a storied paper dishcloth, embellished with hand stitching.
Elena del Rivero, [Swi:t] Home. Dishcloths, 2000-01.
Stitches and mending on handmade and dirtied abaca paper with watermark.
5 dishcloths. Each 292 x 381 cm.
Installation views at The Drawing Center for Performance Paper, a project curated by Catherine de Zegher, July 2001.
Photo: Cathy CarverI sourced the photo above from Rivers Institute for Contemporary Art & Thought, where the text titled “Nineteen Notes for Elena del Rivero’s Nineteen Flags“ by John A. Tyson, is an incredible, insightful companion to Elena del Rivero’s body of work.
Here is note #9.
“Del Rivero’s artworks rattle sabers with conventional accounts of modernism. Her series of monumental dishtowels emblazoned with geometric motifs and irregular splatters and smudges, “Letter from Home,” brings to the fore one of the repressed aspects of “high art”: paintings are really just stained swathes of fabric. Arguably, Clement Greenberg’s notion of “pictorial space,” the idea that a mark on a support yields an illusion of figure superimposed upon ground, is one final defense against seeing uncovered canvases for the materials they are made from. Del Rivero’s grids posit that dishtowel designs could possess this kind of illusionistic dimensionality when put in conversation with abstract canvases. In the context of del Rivero’s paintings, Greenberg’s affirmation, “thus a stretched or tacked-up canvas already exists as a picture—though not necessarily a successful one,” comes to define painting as the manipulation of cloth.”
Martha Stewart and Fashion/Women’s Rights Timeline
When I downloaded this podcast to listen to, I had no idea how much connection I would find in it to themes I’m wondering about in my artwork and my life. Yes, the story of Martha Stewart is worth a listen, even without a deeper interest in craft, domestic work, and powerful women.
I was especially intrigued by this timeline that Sarah Archer shared, which I’ve transcribed/cleaned up below.
1970
50% of single women and 40% of married women are participating in the labor force
Jessica McClintock buys gunnysacks and begins producing prairie dresses
Gloria Vanderbilt appears in a quilt extravaganza called Gloria the Great’s Patchwork Bedroom in the pages of Vogue
1971
Erica Wilson’s needlepoint show premieres on PBS
1972
hobby lobby opens
1973
Roe versus Wade is decided
Betty Friedan debates Phyllis Schlafly on TV
Michael’s craft stores open
1974
Little House on the Prairie premiers on NBC
Women can apply for credit and their own names
1976
Yves Saint Laurent presents his peasant collection
1978
Passage of the pregnancy discrimination act
So what strikes you about this span of time?
From the data points you’re giving, it feels like there’s a direct correlation between women gaining legal rights and the aesthetic of an imagined past domesticity becoming ascendant.
Louise Bourgeois’ fabric books
I was recently introduced to these illustrated, fabric books by Louise Bourgeois. I did not previously know that Louise Bourgeois worked with fabric in this way. The blog article Louise Bourgeois: A Flashback of Something that Never Existed, posted by Christina Costello, Louise Bourgeois Print Cataloguer, Department of Prints and Illustrated Books, is a great short read.
Here is an excerpt from the MOMA website:
“Although she is best known for her sculptures, drawings, and prints, Bourgeois also made illustrated books (a format that she herself collected) from the late 1940s onward, incorporating her own texts and those of other authors. Fabric had deep personal associations for her, as she had spent her childhood living upstairs from her parents’ tapestry restoration workshop and then for years employed textiles in her sculptures and as the support for her prints and drawings. She had long used art as a means of exploring and exorcising her personal history, but this volume is unusually intimate: it is composed entirely of pieces of textiles she had worn or had saved since the 1920s, including nightgowns, scarves, hand towels, and table napkins from her wedding trousseau, monogrammed with her initials.”
Thanks for reading! Until next time, Dana
My 6 Most Recommended Podcast Episodes for Artists
I listen to a lot of podcasts. Like, a lot. I use podcasts to stay connected to other artists, learn about art history and contemporary art issues, and learn professional development for art and entrepreneurial business. Today I’m sharing a list of my 6 most recommended podcast episodes for artists.
This blog post basically wrote itself because I heard myself referencing all of these episodes in conversation over and over again and realized that I needed a concrete list to refer people back to. I hope you enjoy!
1. Do it For the Process: Instagram for Artists
We all wish we could crack the algorithm and garner a large following, like artist and art business educator Emily Jeffords. I’ve listened to tons (literally tons) of podcast episodes about Instagram tips and tricks, but for artists, Emily’s advice in these two podcasts is spot on.
Instagram for Artists (part 1): tips for creating a VIBRANT and ENGAGING account
Instagram for Artists (part 2): tips for creating a VIBRANT and ENGAGING account
2. Beyond the Studio: Amir H. Fallah Interview
I have enjoyed many episodes of this podcast. I feel that Amanda and Nicole ask smart questions and share practical advice for working artists. In fact, this podcast was the inspiration for the post I made a couple weeks ago on understanding your numbers, where I broke down my income buckets for 2019. If I had to pick one episode to share, it’s this interview with Amir that stands out. Before this episode, I had never considered what expectations I might have for a gallery that represented me. Amir talks candidly about how he found and considered his gallery representation and it made me rethink how I would approach and structure a gallery relationship in my own art career.
3. Don’t Keep Your Day Job: John Tabis of Bouqs
This episode caught me by surprise. John Tabis, the founder of Bouqs, a flower delivery company, talks about starting his business. In it, he shares a story about how he realized that if he truly believed in his company, he should personally reach out to his friends and family and ask for support. I was convicted by his passion and confidence so much that I drafted my own version of “the email” to send to my close friends and family. If you are going into business for yourself, you can’t assume that people know what you do or how they can support you. Listen to this episode and be inspired to take a bold step and share your art or business directly with your community.
How Rejection Made a Flower Company Blossom – John Tabis of Bouqs
4. I Like Your Work Podcast: Applying to Academic Jobs in the Arts
This episode is a gift. Oh my gosh. Erika is invited to record a conference panel discussion where the discussion topic is applying to academic jobs in the arts. Different speakers share their advice for applicants based on their own experiences applying or on search committees. One stand out speaker pair review the timeline of an application, each from the perspective of the committee and the applicant that ultimately got the job. I have never found this much insider information about academic hiring in the arts ANYWHERE else.
BONUS: Applying to Academic Jobs in the Arts
5. Artist/Mother Podcast: Jaime Rovenstine
This artist/mother episode made me cry, in a good way. I’ve heard a lot of artist mamas talk about how they were inspired by the life that they were creating and in response their art practice soared. I love those stories, but my own experience wasn’t like that. I had so much anxiety during pregnancy about how my life would change and I struggled with the lack of control I felt during the whole experience, that I practically stopped making art. It also took me a long time to return to art postpartum. When Jamie shared her story, I felt relief because I wasn’t alone. Art is a long game.
Jaime Rovenstine Shares About Finding Time To Paint In A Busy Season Of Life
6. Art for Your Ear by The Jealous Curator: Ashley Longshore
I’ve been listening to this podcast since it launched. Seriously. Danielle, The Jealous Curator herself, is one of my art heroes. It feels impossible to pick one episode to share because she has recorded so many incredible interviews with artists. She is conversational, funny, and engaging. I especially love in the first couple of seasons where she continues to record artists “after the interview” and then shares that segment on the podcast. Artists are real people and in these episodes I get a sense of that.
When Danielle relaunched the podcast in 2019 she changed the format away from artist interviews. I’ve enjoyed the new format, and if I had to pick one to link to, it would be the episodes with Ashley Longshore. Ashley Longshore is a pop artist in New Orleans that is leading an art empire. She breaks all the rules and is unapologetic. I find her episodes refreshing and inspirational in a no-excuses-get-your-ass-to-work kind of way. Be warned, lots of gown up language in these episodes.
ASHLEY LONGSHORE: muses ‘n more
ASHLEY LONGSHORE: optimistic as f*uck
I hope you enjoyed my list of the 6 most recommended podcast episodes for artists. Are you also a podcast aficionado? Leave your recommendation in the comments!
How To Be In An Art Fair: 5 Lessons From My First Fair
In October, I participated in my first artist-centered art fair, and whoa, was it an eye-opening experience. Mostly positive, and definitely a learning opportunity.
First, let me give you a little background on art fairs. Art Fairs have existed in the art world for decades. The famous ones being Venice Biennale, Miami Basel, etc. They bring the elite sellers and buyers of the art world together in one location. The art is stunning, the money is flowing.
Recently, as with all other markets, the art world is seeing a push toward the direct-to-consumer interface. Artists can use the internet and social media to connect directly to buyers. And yes, even art fairs have embraced the direct to consumer trend. Some examples of art fairs where artists represent and sell on behalf of themselves include The Other Art Fair by Saatchi Art or stARTup Art Fair.
I was showing at stARTup Art Fair, which is unique because it takes place in a hotel, and all of the artists are given rooms in which to set up, display, and sell their artwork. You can move furniture around, decorate, etc.
So, here are my major takeaways from my experience and tips I have for you if you are interested in how to be in an art fair.
1. Visit the fair before you participate to determine if it is the right fit for you.
I was given this advice from Jodi Walsh, a Houston ceramicist, and I think it’s brilliant. If you are going to consider spending big money on rental fees and shipping/travel, then you want to make sure that the fair is going to attract the audience and numbers that you are searching for.
2. Shit happens.
For our room in the hotel, we were advised to hang with non-damaging strips. Well, we had a terrible time getting the work to stick on the walls. Most of the art fairs allow you to use nails or appropriate picture hangers, but if for some reason they don’t, then I highly suggest you bring an alternative hanging system. I saw some elegant ones where artists used ladders or false walls. Some of our artwork was damaged because it fell. This was so frustrating.
When talking to the organizers, I found out that this happens to at least one artist in every fair. Shit happens. Traveling with your art increases the likelihood that you’ll experience this, but hopefully, you find that the benefits outweigh the cost of some damage or other bad luck.
3. Get creative with the cost-benefit analysis.
“So…have you sold anything?” This question was asked by all artists that came through the room. We were all curious to know if the others were making sales. When you spend $2000 for a booth/room and still have all of the supply/packing/travel fees, the pressure to make your money back is high. But, the answer is complicated.
Most of the artists I talked to did not make their money back in a clear sales to spend ratio. However, many of them had conversations with likely follow-up sales, made a connection with a curator/gallerist that seemed hopeful, or saw sales from their existing fans based on being at the fair (you can read more about this “for sale” phenomenon in my post about hosting an open studio sale). The promotion of being at the fair, being featured online, and showing as an active artist, are all non-quantitative aspects that you may find valuable.
That said, the cost of doing business in this way is incredibly expensive, so don’t spend money you can’t afford to lose. For clarity, I shared my room with three other local artists, and we were sponsored by a local non-profit arts organization. Our room fees were covered, but we did pay for supplies and other expenses. You should also factor in the cost of your time.
4. Consider sponsorships or other ways to make your money back.
To that end, I have some thoughts about sponsorships that may help an artist make an opportunity like this financially viable. I think it would be interesting to see artists create and sell merchandise to help pay for their booths. Artists could also look to be sponsored by a brand or company where you sell that company’s merchandise and/or present their name as your title sponsor.
Most original artwork is selling for hundreds or thousands of dollars, and your Average Jane doesn’t come strolling through a fair expecting to spend that kind of money. Make sure you have some small, affordable artwork or prints for sale so that Jane can take something home for $50 or less.
5. Bring help or partner up.
After this fair, I will never set up to do something like this alone if I can help it. When I was preparing for the event, I had all these great thoughts about networking with other artists and meeting new people. In reality, I hardly ever left the room. Most artists seem to feel pressure to be present to represent their artwork and be there in case that special person walks through. Thank goodness I was sharing a room with other artists so that we could take turns covering our space while the others got a chance to look around, meet other artists, and generally take a break or eat our meals!
Working As An Artist: 5 Things I’m Doing In 2019
I get asked a lot about what work looks like for me these days. If you know someone who is an artist, then you know that their job is more than just making and selling artwork. Here’s a peek at five of the things I’m working on this year.
Selling Artwork Online
In March I launched my online shop for the first time with a small collection of collage explorations. One of my big goals this year is to connect my shop to Instagram, so hopefully, you will see that come through in the next month. I also have plans to go through my studio inventory and add work from my older collections to the shop. I want to make it easy for you to support my work and add to your home.Curating the New Forth and Nomad Gallery
In May, Forth and Nomad will open in their new location and include a gallery concept that we are partnering on. The gallery will show local emerging artists with a focus on selling to new collectors and providing collector education. We want to bridge the gap between today’s young art buyers and the elusive “art world.” I have a blog post coming soon to introduce the gallery concept in more detail. I’m excited about this opportunity.My First Solo Show
In July I will have my first solo show at the Forth and Nomad Gallery. Forth and Nomad has been selling my work since they opened and I am beyond thankful they want to continue to support my work with a show. Moreover, the ideas I’ve been sketching for this show are bringing me energy. All of the collage explorations from my store launch and the sketches you see on Instagram are part of the research I’m doing to develop my next body of work.CAMH
I will continue to lead educational group tours at the Contemporary Arts Museum Houston (CAMH). I love keeping my toes in art education and staying abreast of the new shows that move through the CAMH.Open Studio Sale
Yes, I plan on having at least one more of these in 2019. I’m kind of playing with the idea of opening my studio for White Linen Night in August and maybe once more before the holidays.So, that’s all for now. I have some ideas of what I might work on in the fall, but I’m keeping them quiet until that time comes. In the meantime, keep following along on Facebook or Instagram, and I’ll be sure to let you know what’s new.
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