Art Marketing Blog: Fair? Jealousy? Typical: One of the more irritating aspects of working in the visual arts in one particular divide I straddle. My host institution (a fine art u...
It does annoy me when successful artists are criticised for either appropriation or for the act of being successful. In this article Banksy cred is called into question because of the above and because he has been absorbed by the mainstream art world. Is it jealousy that calls out against him? Banksy started as a street artist who innovated (some would say appropriated) the use of stencils in graffiti in his native Bristol. Nowadays he is a megastar of the art world and has works shown in galleries (gasp, shock, the horror!) as well on the streets. Banksy is criticised in the article for being able to fly around the world plying his grossly successful brand of graffiti and there are Banksy works 10 minutes walk from where I am right now. I'm not sure that Banksy is quite as alone in that as the "true" NY graffiti artists would have you believe. In and around Perth and its environs, we have at least 3 street pieces by French artist SPACE INVADER and I saw another in Melbourne a few years ago. Personally I have made or exhibited art in Oporto, London, Nottingham, Perth, Melbourne, New York, Trenton amongst other places, and I am definately not grossly successful. In reality, appropriation and its tangled skein of ethnic, gender and theological considerations and engendered politics is an unavoidable comfit that all artists must deal with at some point. I would ask that the NY based graffiti artists to grow up and start thinking outside of a "you have, me want" kind of attitude. You want to outdo Banksy? Don't bomb his pieces; go to Bristol and do a piece so outstanding and innovative that it melts Bristolian heads and makes them forget their errant son. Don't be a hater, be an innovator.
Australian artist Matt Benson-Parry commenting on art, reviews and issues facing artists today.
Showing posts with label artist representation. Show all posts
Showing posts with label artist representation. Show all posts
Tuesday, 22 October 2013
Tuesday, 8 October 2013
The role of art fairs in building a contemporary collection
"An artist at an art fair is like walking in on your parents having sex."
To have you work turned into a commodity is a difficult concept for many artists, but it is essential to the artist who wishes to make their living as a professional artist for their work to be valued and have a monetary value ascribed to it.
This is a grouping of a gallerist, a curator and a collector meeting in Washington, DC in the States and discussing the role of art fairs in building contemporary collections. After you have watched the video, please feel free to comment on whether or not you agree with them...
To have you work turned into a commodity is a difficult concept for many artists, but it is essential to the artist who wishes to make their living as a professional artist for their work to be valued and have a monetary value ascribed to it.
This is a grouping of a gallerist, a curator and a collector meeting in Washington, DC in the States and discussing the role of art fairs in building contemporary collections. After you have watched the video, please feel free to comment on whether or not you agree with them...
Wednesday, 2 October 2013
How to stop trying to get represented and start representing yourself
We've all done it; dreaming of striking it big while being grabbed out of obscurity by a well regarded, respected gallery owner or art superstar bristling with wealthy gallerist patrons who are looking for the next Basquiat. The truth is that there are literally hundreds of thousands of artists in the world and even the most well stocked gallery can never hope to more than scratch that surface. I'm sure that you are very, very good. So is this guy and that girl and all of them would remove a limb for Basquiatesque stardom. So stop trying to get in the galleries and start looking at what you can do yourself to achieve recognition and success in the art world. There are a whole bunch of very good reasons to be a self-representing artist:
1.You are beholden to noone. Being in a gallery is not a one sided affair. Gallery owners will not wait for ever at your beck and call while you create masterpieces. They are people with bills and lives and worries of their own and they need a cash flow, the same as you. Being your own man/woman means that you can be as creative or as slothful as you need to be.
2.You keep all your profits. Most galleries take between 40% and 70% of your takings from a show. If you figure that you have already paid for materials, framing and other such costs, you will figure out pretty quick that unless you are selling an artwork for $20,000+ (which is rare) then you aren't going to be trolling around NY in Armani suits just yet.
3.You control everything. Noone knows better than you about how you wish to portray yourself in the art world. Noone knows the meanings behind your works better than you do. You should use that to your advantage and be in control of advertising and networking and even the little dydactic panels that tell people what you were thinking while throwing resin and jellybeans at a store mannequin sprayed black.
4.You know where your unsold works are. As an artist it can be nerve wracking not knowing that your precious babies are okay. I worked in a gallery once where water was flowing down the storage room wall everytime it rained and the gallery owner did nothing. You cannot guarantee anything unless you do it yourself.
5.You become the node of your own network. If you are represented by a gallery and things turn sour and you are no longer represented, then all the contacts that the gallery worked in your favour are gone too. If you build your own networks then they move with you throughout your career. This is a massive thing! Use facebook or emails or even a stack of business cards but make sure you build yourself up and don't rely on a gallery to do it for you.
6.You can paint (or sculpt, or whatever) what you want. Say I do a painting of a bird and that bird is massively popular and so the gallery that represents me says "Do a whole exhibition about birds!" and so I do because I want to be famous and in the end I become known as the guy that only does bird paintings right? and I hate birds now. Avoid this by choosing what you will paint.
7.You can apply for grants. By being a self representing artist, you are eligible for a whole bucket more grants from state and federal governments and other organisations. If you learn how to apply for these (read their notes on their websites, talk to people and get someone to read your draft), then you can choose where to do your residencies, where to exhibit and all the other things that money helps artists do.
The truth is that you are more than capable of being a big name artist without being a gallery owned and operated artist. Be confident in your intelligence and abilities, be challenging and be sure of what you want to do and then work bloody hard at it. The world is your commission-free oyster.
1.You are beholden to noone. Being in a gallery is not a one sided affair. Gallery owners will not wait for ever at your beck and call while you create masterpieces. They are people with bills and lives and worries of their own and they need a cash flow, the same as you. Being your own man/woman means that you can be as creative or as slothful as you need to be.
2.You keep all your profits. Most galleries take between 40% and 70% of your takings from a show. If you figure that you have already paid for materials, framing and other such costs, you will figure out pretty quick that unless you are selling an artwork for $20,000+ (which is rare) then you aren't going to be trolling around NY in Armani suits just yet.
3.You control everything. Noone knows better than you about how you wish to portray yourself in the art world. Noone knows the meanings behind your works better than you do. You should use that to your advantage and be in control of advertising and networking and even the little dydactic panels that tell people what you were thinking while throwing resin and jellybeans at a store mannequin sprayed black.
4.You know where your unsold works are. As an artist it can be nerve wracking not knowing that your precious babies are okay. I worked in a gallery once where water was flowing down the storage room wall everytime it rained and the gallery owner did nothing. You cannot guarantee anything unless you do it yourself.
5.You become the node of your own network. If you are represented by a gallery and things turn sour and you are no longer represented, then all the contacts that the gallery worked in your favour are gone too. If you build your own networks then they move with you throughout your career. This is a massive thing! Use facebook or emails or even a stack of business cards but make sure you build yourself up and don't rely on a gallery to do it for you.
6.You can paint (or sculpt, or whatever) what you want. Say I do a painting of a bird and that bird is massively popular and so the gallery that represents me says "Do a whole exhibition about birds!" and so I do because I want to be famous and in the end I become known as the guy that only does bird paintings right? and I hate birds now. Avoid this by choosing what you will paint.
7.You can apply for grants. By being a self representing artist, you are eligible for a whole bucket more grants from state and federal governments and other organisations. If you learn how to apply for these (read their notes on their websites, talk to people and get someone to read your draft), then you can choose where to do your residencies, where to exhibit and all the other things that money helps artists do.
The truth is that you are more than capable of being a big name artist without being a gallery owned and operated artist. Be confident in your intelligence and abilities, be challenging and be sure of what you want to do and then work bloody hard at it. The world is your commission-free oyster.
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