survivingart - Tumblr blog

survivingart · 6 years ago

Text

GETTING YOUR STORY ACROSS (MARKETING AND BRAND AWARENESS)

It doesn’t matter if you’re the CEO of a design studio, a student at the Academy or working retail by day and creating art by night — a day only has 24 hours. If then you want to make something out of your life, time management is imperative.

While all of the people who work a 9-5 job have time management enforced into their lives by their workplace, those of us who are self employed don’t have a boss to tell us when to work and when to have our lunch break. And with no HR person breathing down our neck and telling us what to do and when to do it, we have to do this ourselves.

From calculating taxes, checking contracts, planning meetings to learning about our craft and following some sort of news platform so we actually know what’s happening in our field. Oh, and making art, right?! Sometimes freedom can be quite constraining.

But where in this incredibly dense equation of the-things-we-should-be-doing and having-no-time-to-do-them should we squeeze in the most important job of all — marketing?

Not as cool as being a bohemian artist, not as rewarding as making a sale or signing a new licensing deal but probably much more important than everything else mentioned, marketing our work is the only functional way to propagate our ideas into the world.

And today’s world is already quite full — full of people like us, doing things that are similar to ours — so saying we need to have a strong game would be an understatement.

But while many of us think we need to be creating Hollywood-like movies about what we do or making some blown-up statements on how our work will “change the world as we know it”, it really could and should be much simpler:

Make your art simple to understand by making your process transparent.

Not by showing boring two hour videos of us mixing paints and priming our canvases, but by maybe sitting down in-between the drying coats of paint and speaking about our work. We should be documenting our process — not by defending our right to have one, but by explaining our motivations with simple language and a good story.

Give those who are interested in your work a glimpse into your mind and your process. Document how you clean your brushes (or how you never do), why you use a certain brand or type of canvas (even if it’s because it’s the cheapest — sincerity is gold) or show pictures and write about the books you like to read.

There is always time for a short piece of content.

When you don’t have time to set-up a video camera; why not take out your phone and make a short handheld IGTV video or Facebook video or even a story on any topic that you like — connected with your art or maybe even just about what makes you tick. Lots of content on the platforms you feel comfortable with is the best way to go if you can’t afford to run ads on Facebook or Instagram.

Your work, life or personality aren’t boring, and they surely aren’t unimportant!

Some people religiously reread a few books that are special to them every year (something I could never do), and the intentions and the drive behind doing so are actually fascinating to people like me, who after finishing a book usually toss it away and find another one to read.

My point is; even the minuscule things that we do in our lives can be immensely interesting to some people and in reality, usually exactly these minuscule parts of our personalities give others the ability to connect with us on a personal level.

You don’t become best buddies with someone just because they like art as much as you do, because liking art is too broad of a subject to be relatable. You get close because of having or liking the same kind of artists and their works and only if both of you understand them in approximately the same way.

To get there, both need to first share their personal aspirations towards a certain topic, and be sincere about it. Otherwise it’s like opening your Facebook news feed and looking at vaguely interesting ads about pant tubes — you kinda like them, but just couldn’t care less about them being there.

In the end, we shouldn’t just be painting pictures on canvases and Fabriano paper, we should be painting mental images onto the minds of our followers and soon-to-be-followers. Only so can we ever succeed in expanding our reach to the people who really care and genuinely like our work.

CREATING ATTENTION

Art is obviously emotional and as such its value is determined absolutely subjectively. The big question though is how, because even though ambivalent, subjectivity can still give us a lot of various starting points to think about our target audience.

How people recognise a good story in objects and experiences differs from person to person — that’s why it’s subjective — but usually we can find basic guidelines that can help us define this perception. The main idea behind this exercise is to find what is most important for each person, that we are trying to understand.

What are their needs? What do they wish for? Do these wishes and needs have a certain urgency? Do they provide pain or discomfort for them and can our art elevate or even completely fix their issues?

Even though art is seen as the complete opposite of utilitarian — especially is we look at contemporary art — it could not be further from the truth. If nothing else, the baseline of what art can do is to catch attention. To intrigue and incite curiosity about itself in those that experience it.

Art has to be interesting. It can be either “avant-garde” or challenging, but at the same time it can be personal and quaint; there is no “standard” that defines what interesting is, except that whatever it is we are creating should stand out in the context of everything around it.

An apple on the ground of an orchard is about as interesting as a grain of sand on a beach, but that very apple, placed in a vineyard will catch people’s attention, because they ordinarily wouldn’t have expected it to be there. The same goes for art; anything we do should aim to be exceptional, compared to the environment it resides in.

But this doesn’t mean that we need to run naked in the streets while reciting the Yellowist manifesto, because there are much more subtle ways to stand out, and truly great art is always made in a subtle, but disruptive way. Think about all the one hit wonders in the music industry — they might have been successful with one song, but after the initial boom, they slowly fade into the background.

Their problem is, that they have been trying to impress and communicate to the kind of people that need constant novelty and excitement to give them their attention. And because they focused on people that needed cheap thrills, they themselves become one in the end.

Only those that build their novelty and intrigue with a long timeline in mind and cultivate the attention of the people as a friend or acquaintance, not a passing circus or magician, are able to find true success with their creative business.

Because, while a magician may be able to entice and amuse us for a few hours, after we’ve seen the show, there’s really no point in going back another time. We’ve seen all of her tricks, laughed at all of the jokes and it just wouldn’t have the same novel effect on us as it did the first time.

But comparing it to our favourite book, that we have reread a thousand times, or our favourite TV show, that we know by heart and still binge watch from time to time, these objects and experiences never seem to really get dull.

Quite the opposite, they get better and better over time.

QUALITY AND QUANTITY

A lot of people today speak of quantity as the defining factor in getting your message into the world — with Gary Vaynerchuk being at the forefront of this movement.

But I think we do need to take a closer look at this model.

I still think quantity plays an enormous role in content production — especially as the amount of blog posts, podcasts and images on the web is increasing exponentially — but there is one important truth that many of us may overlook in this conquest of trying to reach the eyes and ears of the masses.

Quality is king and quantity is his servant.

I get why the amount of information is being pushed as the most important factor; too many of us focus endlessly on tweaking and re-editing our content, too many of us spend hours making our images, texts and videos “perfect” and thus miss a lot of opportunities of growth and consequently reach.

The 80/20 rule still applies to everything in the universe; 80% of effect is produced by 20% of our effort. Of course, we shouldn’t confuse this with the idea that we only have to do 20% of the work and get 80% of the rewards.

We still need to do all of the work. And regardless of how much “all of the work” actually is — 5 min or 5 years of input, it doesn’t really matter — the effect is always more or less the same; most of what we do will not bear any fruits, but a fraction will. And that fraction will create the most effect.

Here the real argument for quality begins to take shape; if 100% of what I did was only average or “merely” good, the effects of it will embody the same kind of qualitative force. Good things lead to good results, average work produces average products and services, but excellence, excellence can’t but create exceptionality.

In order for any one of us to reach excellence, we have to first begin our path with average tools, common techniques and boring (and many times tedious) practice. But after such a rhythm has been established, after the almost masochistic pleasures of repetition and rigorous practice become part of our being, I believe all of us need to again venture further into the unknown.

And this means reevaluating everything we have been doing up to this point. A child may have enormous dependence on his training wheels when learning how to ride his bike, but after they succeed in mastering balance, speed and manoeuvring, the support has to be taken away, exposing the reality that all they have done up to that point was mere practice for the real thing.

In the end, all we do — regardless of whether we write, sing, paint or dance — we do so as a form of diary, a succession of traces that we leave upon the world. It doesn’t matter if our creations ever get exposed to the public; even those of us that never publish our creations and keep our diaries, paintings and songs to ourselves , we inevitably all do the same.

We create marks upon the world, knowingly or not, by accident or in order to be remembered. Regardless though of why we do what we do, I believe one thing is for certain.

Such marks should be born out of the highest efforts that we can endure, if not to grow, at least to know that whatever we did mattered, perhaps to some, or maybe none, but always to ourselves.

from Surviving Art https://ift.tt/2OGteVE via IFTTT

#artist life #contemporary art #surviving art #make art everyday #blog

0 notes

survivingart · 6 years ago

Audio

The Surviving Art Daily Podcast: October 10, 2019 at 05:00PM Getting your story across (Marketing and brand awareness) https://ift.tt/2nDiXyu

#artist life #contemporary art #surviving art #make art everyday #Podcast

0 notes

survivingart · 6 years ago

Audio

The Surviving Art Daily Podcast: October 04, 2019 at 06:00PM Polishing your story (The artist statement) https://ift.tt/2ANLkg5

#artist life #contemporary art #surviving art #make art everyday #Podcast

0 notes

survivingart · 6 years ago

Text

POLISHING YOUR STORY (THE ARTIST STATEMENT)

Artist statements, even though they might appear like a load of pretentious art-talk (which many of them sadly are), serve a very important purpose: presenting your passion in a bite-sized package, to be easily consumed and understood by the reader or listener (you can, and should know how to pitch them too).

But what many of us present as an artist statement is usually exactly the opposite of what it should be; we focus on intellectually sounding words and sentences like this: “As wavering phenomena become rediscovered through subversive personal practices, the observer is left with an awareness of the boundaries of our era.”, rather than actually trying to communicate clearly.

And taking the time to create a great artist statement will also help you clarify your wording, so you can give a short and captivating presentation anytime you find yourself in front of an interested buyer, are giving an interview or just get asked by a random person at a party somewhere about what you do.

The worst thing to do when casually asked about what kind of art you make, is to go rambling on about your work for half an hour and spewing random artist’s names and isms with no head or tail. Again, the goal is to start with small bite-sized pieces of information that are easy to consume and intrigue the listener to want to know more, not your subconsciousness going full monty.

A FEW THINGS TO KEEP IN MIND:

Be genuine and sincere.

This is the most important one of all. Never feel like you need to defend your right to make art; regardless if you only paint pretty flowers because you like pretty flowers or if you are composing some conceptual piece that will explain the meaning of life itself, what you do is your choice so tell it how it really is. There is absolutely no need for big words and fake concepts.

Short and sweet; 3 – 5 sentences is ideal.

It can be longer if you really want to, though I couldn’t recommend it. The important thing to keep in mind is not to write half a page.

Clear and simple language.

Regardless of who your target audience is and what you do, make your artist statement understandable to even the people that don’t know anything about art. Especially if your work focuses on being beautiful, rather than conceptual. Truth be told, nobody likes to feel dumber than the person they are speaking to and if your goal is to get them even close to as excited about what you do as you are yourself, it might be better to talk to them like you would to a curious friend rather than a judging professor.

Base your language on evoking emotions, not just intellectual concepts.

Easy for anyone focusing on beauty or any other emotion-evoking art, but even conceptual artists can present their ideas by building on emotions. Think about it; your artist statement should intrigue the reader to become curious about your work and give them some sort of key to be able to understand it better. And curiosity is an emotion, not a mental state — nobody thinks they’re curious, they feel curious.

No comparisons to other artists, living or dead.

The fact that you’re trying to make your work more understandable by comparing it to someone else — usually a more popular and successful artist — is a bad move. Not only are you passively implying unoriginality, but unless you’re comparing your work to Picasso (and you shouldn’t), there’s a big probability that people just won’t know the artists you’re mentioning.

Note that comparing your work to other artists is a wonderful and necessary tool when figuring out your style and creative toolkit, but as such, comparisons should be done in the studio and while doing research, not as part of a presentation or sales pitch.

Nobody cares about technicalities or tools.

If you’re a landscape painter, talk about why you’re drawn to nature, not about the fact that you use oils instead of acrylics because they blend better. But you can always use materials to strengthen your narrative: oils are an old, slow drying medium and can allow for a much more mediative and relaxed workflow, thus complementing nature’s unhurried pace, compared to our fast-paced lives. But only if this is really why you chose to start painting landscapes in oil, don’t make things up because they sound nice.

Maybe the only time it actually is appropriate to talk about the tools is when you are using a rare, obscure or otherwise exciting process or material. It could be cutting edge stuff like Virtual Reality or blockchain tech or wet plate collodion photography (an almost alchemistic process that is quite hard to do and regarded highly by hipsters around the world).

Review your statement as you progress in your work.

Be it quarterly or yearly or some other period of time, the point is not to write your artist statement once and then leave it be for 20 years. It’s also a nice reality check to sit down and think about what your work is about and if anything has changed since the last time you wrote it.

And for all the times you really want to go hot-air-ballooning with words, you can visit my Artist Statement Generator and experience the magic of semi-randomness in action.

HINT: A good way to tell if your artist statement is OK or not; if it looks like the one you can generate in the link above, it probably shouldn’t be on your CV or portfolio.

GETTING YOUR STORY STRAIGHT (YOUR PERSONAL BRAND)

Since the beginning of human creation, art has been evolving in a more or less linear fashion. This is especially obvious in the era of isms; starting with the old impressionists, evolved by Henri Matisse and the other fauvists, and the expanded freedom of colour and form that eventually lead to cubism, futurism and abstraction.

Due to a great lack of functional means of communication, artists all over the world took much longer to evolve their styles and to find new inspirations for their work. Picasso had no other means to come in contact with a totally foreign culture than by visiting a museum exhibit. And it took him a long time to get his imagination juices flowing enough to be able to produce his masterpiece The Young Ladies of Avignon, that eventually lead to a revolution in art.

But now, with the power of the internet our playing field has been broadened from a straight line into a worldwide area of everything goes.

If one wishes to decorate his or her home with some fine art — from bio art to classical realism — today one can find almost anything online. And with such an abundance of art, it does bring up the question of how to stand out from the crowd?

WHAT YOU CAN DO:

IF YOU WANT TO GET EXHIBITED:

The art market is a volatile place for investors, and these are the people gallerists cater to, so there are certain check boxes your work has to tick in order for them to decide to sign and represent you and your work.

Having a regular production is the best sign for a curator to know that you’re serious about your work.

If you only create one work a quarter, your chances of being perceived as a viable candidate are much smaller than if you have a regular output of work. It doesn’t have to be one work a day — unless that’s your thing of course — but having a history of regularity is one of the most important traits an artist can have for a collector or gallerist.

Curators tend to look at the whole oeuvre — the whole body of work any particular artist has produced over the years.

Today, it isn’t as much about one work, or even one exhibition — what matters in the long run is the totality of our production. Rather than focusing on the importance of each piece we make, it’s much better to take a step back and observe it in the context of everything we have ever done.

Questions you could ask yourself that could help you create a coherent body of work:

Does it brings anything to the story of who you are and what you’re are about? Does it complement or juxtapose the works that came before it? Does it maybe break a certain “tradition” of motifs you had previously been using in your work? Are you becoming more serious, more cynical or more playful in the way you tell your stories? …

A brand is only as strong as its presence in the lives of its customers.

Regardless how much competition we face as creatives, how many applications, CVs and portfolios the galleries we all are trying to get in receive in a day (usually a lot), the decision of who gets signed and who is left on the applications pile of the gallerist’s desk is mostly decided by a simple question: “Do they know us?”

If we want to get into a gallery, it is imperative to be present at their exhibition openings and talks, to mingle with the people in charge and slowly become part of their circle. This is probably incredibly obvious, but a lot of us are guilty of not showing up in person, when this is actually what matters the most.

Build relationships with people, regardless if they’re the owner, head curator or just answer the phone.

When just starting out, our chances of just popping up at an opening of a gallery that we have been eyeing for a while and getting friendly with the curator or owner aren’t really great. There’s a social divide between freshly baked art students and prominent art world figures, and to say it takes courage to just get up to one and start talking is an understatement.

But we can start out by getting to know the people working there; maybe we know somebody who is now working the reception or handling their social media. They of course won’t be able to arrange a meeting, but could share some valuable information about what is going on inside the gallery.

There’s really no better insider than an intern on coffee duty — they might not be in charge, but they do hear and see a lot about what is going on inside the institution. Also, having friends in the field is always a wonderful thing to have, so build sincere relationships, not just means to an end.

KEEP IN MIND: Public institutions, unlike private galleries, do not have to be profitable to stay afloat, so if you are living in an area where the art market isn’t as strong as in New York or London and most of the galleries are publicly funded, getting exhibited there requires a different tactical approach.

If for example you create more conceptual pieces, that aren’t as focused on being aesthetically pleasing but rather propagate a message — like political and other critical art — public institutions tend to be a better target as they won’t judge your work by the merit of how well it could sell, but rather on the power and importance of your message.

Be it public or private, before applying to any institution for an exhibition, the best thing is to first asses what their goal is; is it making more profit than last year, is it fighting some social injustice or just showing beautiful work. If you can find their basic intention, you will have a much easier time aligning your story and your work with theirs and finding the common ground from which to build your arguments and getting their attention.

IF YOU WANT TO SELL YOUR WORK:

Similar to getting a show in a gallery, getting a sale requires us to be regular producers. But unlike gallerists, that care a lot about our work’s future worth, followers and collectors usually don’t buy our art because of investment reasons, but because they like it. So regularity here is merely a means to show up and build public presence. The more we create, the more we are able to be present on social media for example, and our chances to be seen by potential buyers greatly increase.

The same goes for having a coherent body of work. Here the emphasis isn’t on showing a maturely developed personal style that is important for being taken seriously by gallerists of any medium or large institution, but the mere fact that only by being consistent and coherent in our work are we able to create a personal brand for our customers.

You don’t buy the new Stephen King novel because you are expecting a romantic comedy and you don’t read J. K. Rowling because of her knowledge of biochemistry. Each creator has their own body of work, distinct from everybody else and thus people learn to expect a certain kind of art from any one of them. This is really important, because it’s the cornerstone of any great personal brand.

And there are other things to keep in mind:

Personal brands are almost as important as the products we produce.

It’s important to hone your skills, but working too hard on figuring out your style and technical skill without giving your audience the chance to also get to know you might not be the best tactic.

Each of us has a unique story to tell, a unique background of why we do what we do. Why not focus on that, rather than being just another still life painter or just another one using resin to make his or her work. In today’s oversaturated world it shouldn’t be the materials or the singular creations we make that define us and our personal creative brand, but the amalgamation of everything we stand for, everything we are.

The main point of any product, even an art piece, is to fulfil a need and satisfy a certain want that people might have.

Either to make their lives easier, richer or to give them the ability to express themselves even if their own skills don’t allow them to, art should satisfy a certain want.

This doesn’t mean that you should stop doing what you like and focus exclusively on impressionist portraits, just because they’re in vogue right now, but that you need to focus your attention on the people that would like what you do.

HINT: Facebook Ads is wonderful, because it lets you target a specific audience — even to the level of “somebody that works at a particular company” — so you can really focus on only the people that you believe share your love towards a specific style of art.

Regardless of whether you wish to get signed by a gallery or attack the market directly via online stores and social media, don’t think too much about how your work looks compared to all the other similar creators, focus instead on your message and personal story.

The issue of uniqueness could once be resolved merely through personal style; Renoir was different from Matisse, Gauguin nothing like Cézanne … The number of artists an average collector or gallery visitor knew, was more in the hundreds and differentiation amongst them wasn’t as hard back then as it is today.

Now you can open Saatchi Online and find millions of artists, many of them producing quite similar works, so style doesn’t really help as much as it once did. The only real differentiator between two similarly looking artworks is the story behind them and the artist who created them.

from Surviving Art https://ift.tt/2AFEjOw via IFTTT

#artist life #contemporary art #surviving art #make art everyday #blog

0 notes

survivingart · 6 years ago

Video

youtube

▶ Check out my gear on Kit: https://ift.tt/2ZcsX3l Had a great chat with artist Augustin Maurs about his musical performance at the 33rd Ljubljana Biennial of Graphic Arts. #augustinmauers The whole video series was commissioned by MGLC Ljubljana and published with their permission. Check out the biennial (the 3rd oldest art biennial in the world, just after São Paulo and the Venice Biennial!): BIENNIAL WEBPAGE: http://bienale.si/en/ MGLC WEBPAGE: https://ift.tt/2L5cPt3 MGLC FACEBOOK: https://ift.tt/2S4HW8D MGLC INSTAGRAM: https://ift.tt/2L76vRN MGLC TWITTER: https://twitter.com/mglc_ljubljana #Vicevlisice #SlavsAndTatars #CrackUpCrackDown #LjubljanaBiennial #MGLCLjubljana #BienaleTV #survivingart

#artist life #contemporary art #surviving art #make art everyday #YouTube

0 notes

survivingart · 6 years ago

Video

youtube

#artist life #contemporary art #surviving art #make art everyday #YouTube

0 notes

survivingart · 6 years ago

Audio

The Surviving Art Daily Podcast: September 29, 2019 at 06:39PM Story is everything https://ift.tt/2onxaQ3

#artist life #contemporary art #surviving art #make art everyday #Podcast

0 notes

survivingart · 6 years ago

Text

STORY IS EVERYTHING

Be it online or in person, there’s a lot of competition in the arts. And the fact that the art world is much smaller compared to the world of business, law or medicine, only makes it harder for any one artist to succeed. While everybody online is telling us to “niche down”, and explaining why it’s so important, usually no specific tactics are disclosed, and the how is left for us to figure out for ourselves.

This blunder is intended for anyone who wishes to find their focus and stand out in today’s oversaturated creative market by understanding the immense power of storytelling — especially when positioning ones creative skill and aspirations in the market.

Regardless if you paint, sculpt, make experimental video installations or are a political performance artist, the main goal for all of us is to express ourselves.

We do so not because it’s the quickest or easiest way of making a living, but because it’s who we

are. Most of us love our craft in some form or another and follow some internal aspirations that guide our interest and consequently the kind of art we make.

But while creativity is a general term, it could not be describing a more colourful and rich abundance of personal motifs and ambitions of why we do what we do.

For example, I could be selling skilfully crafted portraits because of my passion for creating narratives about beauty, intimacy and connection. But it could also be that I just really enjoy painting figures and fabric and am good enough at it to charge for my work.

Both are great reasons to make a portrait and market ones skill, but even if the end product looks similar in both cases, their target audience couldn’t be more different.

So, let’s put the “art” in artwork.

I’d like to open this conversation with one of the hardest, but probably the simplest of all questions to answer, because we need to get it out of our way to really get the point of why story matters so much. But to find the answer we will have to go all in and drop the proverbial A-bomb.

We’ll have to ask the big question. The one you can read about in 50€+ books, written by prominent and knowledgeable art historians and theoreticians, whose answers are mostly written so thoroughly, so extensively, that one needs a dictionary to find their point.

Ready?

What is Art?

Boom.

Unlike most other questions like: “What is carpentry?”, “What is music?”, even “What is philosophy?”, we artists and other creative souls appear to have an enormous problem — none of us really seem to know what the heck we are doing in our lives. Not because we are confused, undisciplined or too spontaneous, but because no-one actually seems to know what art is.

If you ask most academic professors, they will usually give you an academic answer. If they’re more on the liberal side, it will surely have to do with the freedom of expression and the lyrical power of images in the fight against social injustice.

Ask a person in the street — anyone you want really — and they might tell you it’s something pretty, something that looks good. And probably also something that is quite expensive. For a wealthy collector it might be freedom; a way of expressing themselves without the need to actually learn how to paint or draw or sculpt.

A tattoo artist will tell you it’s tattoos. A barber will tell you it’s an exquisite haircut. An IT technician might even tell you it’s a perfectly sorted and laid out collection of ethernet and electrical cables in the server room.

Just don’t ask an aesthetician — the branch of philosophy that researches art — and they might tell you a lot. Truth be told, they might tell you too much while saying very little. A wonderful example is Tiziana Andina’s prominently titled book: “The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories”. Read at your own peril.

Art seems to be everything. And we all know that something that is everything is consequently nothing at all.

We have to take a closer look into the production of art; the making of paintings, sculptures, videos and maybe even haircuts and tackle the question by investigating the process of making something an art piece.

So, let’s see if we can’t fix this mess of tattoos, pretty pictures and ethernet cables into a more workable definition by asking a better question: What makes something art?

In the 1960s the art world had a small crisis, caused by none other than the famous pop artist Andy Warhol. The root of the crisis was his artwork, titled simply: Brillo Box.

It looked exactly the same as a normal Brillo soap pad box, albeit being made out of wood. The question: What made Andy’s Brillo boxes art, but at the same time dismissed the original boxes made by James Harvey (the creator of the design) as mere industrial design?

Surely it wasn’t looks, and it couldn’t have been materials — the prestige of using silkscreen on wood instead of printing on cardboard was not the deciding factor after all. The only real difference that one could discern was the name associated with either product.

You had Andy Warhol superstar and the other guy.

Apart from being a marvellous posh object to own, Andy’s Brillo box shines light onto an immensely important topic in art, namely that when push comes to shove, the classification of an artistic piece does not have anything to do with its physical composition — be it medium, motif, size, you name it…

This is immensely important, because if we distill the factors that make up art, we can get a pretty rough, yet quite precise equation, that looks a bit like this:

ART = Viewer + Art Piece + Artist

But why does it now seem like the art piece, the central point of the equation isn’t really important? Well, there’s another surprise coming up.

The artist has been regarded as a genius ever since the invention of the cave painting about 40.000 years ago. The master painter, listening to the whispers of his or her muses and transcribing the messages of the gods into reality, for all of humanity to experience the righteous powers of the divine.

As humans, we couldn’t have been more proud of the lineage of artistic mastery that our planet had created over the years, and we had every reason for it. From the Ancient Greeks to Giotto and Titian, then Caravaggio, Monet, Van Gogh and Picasso … all geniuses in the craft, that shaped how we perceive reality itself.

But then came the trickster. The black sheep, the snake, the devil himself. Then, came Duchamp.

In 1917 as part of The Society of Independent Artists’ exhibition at the The Grand Central Palace, he unveiled his biggest joke of all — a urinal. And even though the organisation of the exhibition had promised that each and every art piece that was entered in the application stage would be shown, they decided to remove The Fountain (as Duchamp named his vertical toilet) from the exhibition.

It was serious.

But the problem that Duchamp’s art piece created was minuscule compared to the big issue that was yet to come. His simple question : “Is this art?” didn’t just create a revolt inside The Society of Independent Artists, it started a revolution.

Thus, conceptualism was born.

The point he was trying to make was simple: Art is an internal human experience, not an invisible aura imbued into an object by some artistic genius.

The art world though, instead of getting his point, concluded that Nietzsche was indeed correct; the gods of art, beauty and aesthetics truly did perish. The murderer’s weapon was finally found — fully drenched in nothing but bloody ideology, the Fountain stood as proof.

Now, more than 100 years later, this narrative is still the bedrock of many institutions, both commercial and educational. And I feel it is about time we change this.

Not only could more people start to appreciate art — instead of thinking of it as a pretentious playground for the rich, filled with expensive junk and weird intellectuals — but by removing some of the misconceptions that either artist or artwork are the origin of the artistic experience, we could actually improve the status of us artists in society.

How?

By educating the viewer. By making our artistic process visible to all via social media and other means. By not trying to overcomplicate our work descriptions and artist statements and ending the need to feel like we have to defend our right to paint, sculpt, dance or make videos, with big words and complex explanations.

By connecting with our audience and being strong, sincere and genuine people. And with social media exploding in a constantly connected world, the timing just couldn’t be better.

Art is a multitude of stories, each different from another and all created by every one of our viewers.

And like good spelling and a decent vocabulary are the bedrock for any novel, we visual artists have a bunch of tools that we can use to build our narratives too.CREATING YOUR STORY (CONTEXT AND CONTENT)

In 1976, artist and critic Brian O’Doherty published his essay Inside the White Cube, that not only created lots of buzz in the art world, but gave this popular mode of displaying art in museums and commercial galleries a catchy new name.

While his wonderful critique of the White Cube is better to read in the original form, I would like to focus on one psychological factor that made his essay become so well known.

People experience things instantly and as a whole, rather than a collection of individual parts. When looking at a red triangle, we can’t just decide to see it as a triangle or just as something red — we always see both of its features at the same time.

Similarly with music; we can’t decide to hear just the tone of a note, while zoning out the colour of the sound (for example hearing the same note being played on a drum compared to a double bass or saxophone).

We as beings need context for just about everything in our lives — even our ability for differentiating object sizes and various temperatures is done by creating context from the surrounding environment.

Ok, but what does this have to do with art? Truth be told — everything.

As art is subjective, we can never really take full control over how a viewer of our show or a customer who bought one of our pieces will understand the work’s narrative.

A description of the work might help, but some actually prefer to make up their own mind about what a particular art piece means to them on a strictly personal level, rather than listening to the artist describe what it should mean. And there is absolutely nothing wrong with that in my opinion.

But, while we aren’t able to control everything our viewer will experience, there are many aspects of our work that we absolutely can and should be thinking about. Because understanding them makes our job of finding potential buyers or getting a place in an exhibition incredibly easier.

WHAT YOU CAN DO:

Choose materials carefully, not just as a means to an end but as building blocks of your work’s narrative.

A marble sculpture and a wood carving of the same motif tell different stories. Both may be a portrait of someone, but marble will always communicate prestige, longevity and may form subconscious connections to Ancient Greek and Roman statues of prominent individuals, making the portrayed look even more respectable and important. Wood on the other hand is softer and warmer in appearance and more suitable for creating intimate portraits emphasising emotion rather than status.

Evoke emotions, then seal the deal with a well prepared concept.

Nothing is worse than a conceptual piece that doesn’t also work on an emotional level. The appearance of your work will make or break its ability to convey your message, so regardless of how brilliant your idea may be, if your work doesn’t first captivate your viewer and make them curious enough to step closer, all is lost.

Presentation is really important when exhibiting your work.

Adjust lighting, surrounding objects like tables, chairs, plants … to compliment your work, or at least not to distract your viewers attention.

Impressionists used a lot of green leafy plants to compliment the vibe of their paintings, modernists decided to completely remove everything (including the frame of a painting or plinth of a sculpture) to maximise emphasis on their work — hence the White Cube principle.

When showing work online, it is imperative to get it right.

Show your work not just as a clean, shadowless and speckless photograph with good colour correction (because the images should look identical to the real thing), but incorporate it into an environment — even a generic architectural shot of a living room will be better than nothing.

Give your online images enough context and help your visitors understand the colours, size, textures and other features of your work by providing enough visual information; a few detail shots, a side view and maybe even the back of the work (if it’s 2D). For spatial works, maybe make a 360° GIF by stitching together multiple angles — nobody wants to buy a sculpture only to find that they don’t like the rear end of it.

The venue is a big part of your exhibition.

If you paint a picture of an apple being picked by a woman somewhere in a forest and hang it in an office of a juice company, people will probably see a nice lady picking apples. But hang it in a church community centre and people might see the highly complex concept of Ancestral Sin.

Same painting, same communication, immensely different results — just by changing the context.

So whenever you have the chance — for example if you are invited to create a show in a certain gallery from scratch — work with the space in mind, or change it if you can to make it a better fit for your work.

Regardless of what kind of art you create, if you make a thorough examination of the materials you use, the message you are trying to tell and the environment you are telling it in, you can use all of this information to reverse-engineer your work to find your target audience.

It should never be the other way around.

from Surviving Art https://ift.tt/2mSC2Mu via IFTTT

#artist life #contemporary art #surviving art #make art everyday #blog

2 notes · View notes