On Trend.

I apply to many art and grant opportunities throughout the year like thousands, if not millions of other artists around the world. Happily. We all apply hoping that our proposals will be accepted. Interestingly enough, I enjoy the learning process that is necessary to understand how to respond to each opportunity. I change as an artist each time, or at least have a better understanding of how to present my work to others. It’s a healthy exercise if you care about the art sharing portion of the business and world that is art.

It’s become more obvious to me that organizations and entities doing the choosing are doing so based on what is on trend. On trend in terms of politics and culture, what people post about on social media the most. Not that these current events shouldn’t be highlighted or that a response to them can’t be profound or nuanced but… Isn’t the purpose of art (most of the time) to push us forward? To bring things to our attention or into view that weren’t even on our radar?

To me it would seem you (an art entity or money giving organization) aren’t creating the next wave of art artist or even predicting it/them but simply riding a wave (of safety) someone else has created which might ensure sales or positive feedback. Of course show attendance and money are important factors of how art is chosen to fund and show. Having assurances in relation to these factors makes the investment of art a little safer. Safety is the exact opposite of art isn’t it?

Just a thought…

Let's Break The Wheel!! For Reals This Time.

Photo Credit: Katie Awad

An Artist By Any Other Media.

Last summer after I finished up my last show, Play Play, I came across an announcement for another visual art show. It was a group show. Many people doing several different kinds of work were included. Group shows are always interesting at least for that reason alone. I was caught off guard when I saw they were charging a $10 entry fee. Ten dollars? Who pays to get into a visual arts show? There’s no performance right? I checked the announcement again and saw that there wasn’t. Even though I wasn’t planning to go, I was annoyed.

First I was annoyed at the audacity: Charge for a visual arts show ? Pffffffft!! (Imagine me doing this with a dramatic flick of my hand.) Then I was annoyed with myself: why shouldn’t a visual artist charge to see their work? Musicians do. Dancers do. In various places and spaces they even have tip jars present. Why shouldn’t a visual artist charge for the privilege of seeing their work? I commend these artists for not only banding together to show their work, but also asking to be compensated in a way that visual artists aren’t usually. I can admit when I”m wrong. I was.

Though I’m pretty sure it wasn’t necessarily their aim, but they should also be acknowledged for their efforts to break the wheel.

What’s This “Break the Wheel” Nonsense?

''Break the wheel” is a Game of Thrones reference. Though the show has ended there is still so much that has been learned from it! So good! But I digress. Just in case you’re not into GOT I will spare you a long synopsis of the show by saying the phrase is shorthand for changing a broken, ailing, and corrupt system that benefits only a few. Especially if it isn’t working really. I can definitely say that artists not being compensated for their work but still expected to do it for free and with a flourish is not even a real system at all. It’s not just artists that have to work to break the wheel but anyone who loves art and wants to support the artists who make it.

But It’s Not My Fault, Is It? Actually It Is.

The same society that teaches us that artists should be poor, that artists should be starving, and still have 5 jobs to cobble together an income is the same one that tells us there is no reason to compensate an artist for their work. More often than not we pay to see work in museums. I paid to get into individual shows when I attended Art Basel a couple years ago. Why shouldn’t gallery shows or any other type of show where you see work on the walls or sculpture in the room charge entry? I freely admit I had been brainwashed by the same system. I’d participated in the system that said I don’t need to get paid because I love my work. Shouldn’t we all love our work though (a topic for another day!)?

Though it’s scary, I’ve decided that I am changing the way I think about my work. It’s about to get a little crazy probably. But that’s ok right? We are breaking the wheel!!! I want you to join me for the ride.

I Want You, Yes YOU!

I LOVE MY WORK!!!! Sometimes it’s like being in love and I want to shout it from a rooftop. I want everyone to be a part of it. I want my own art tribe. I want to be able to talk to people about my work. Share what I’m up to! All of the facets of my work and know I’m sharing with my crew, people who care!

Patreon (a site that houses the space where you can support me directly) and creating an opportunity for fans of my work to become a member of my tribe is one way I am working to change things. Fans of my work who want to see me finally finish a project I’ve been working on for the past two years can support me directly and mark my progress on various projects. This is a part of me breaking the wheel. This could be the first step for a lot of us. Take a look at my page here. Become a member of my art tribe.

Let’s Do This!

#NotAFan But I Really Want To Be.

Opinions Are Not Safe Spaces.

I am not a fan of Beyoncé or Jay-Z.

There. I said it. Out in the rest of the world.

I am saying this out in the rest of the world that has become obsessed with them as individuals, become obsessed with their children, her pregnancies, more obsessed with these two personalities than they are with living their own lives in general. In a world that has become obsessed with only spending time with and interacting with those who only ‘like’ what they like. In a world that has become obsessed with ‘safe spaces’ and a lack of intellectual discourse on why we might individually disagree on why coffee ice cream is the best and agree to disagree having heard each other out.

Sure, I like some of his beats and whoever she has chosen to do the styling and choreography for her videos have powers on the creative scale that are pretty amazing (Pharrell is wondrous), but I am not a fan. I don’t know Beyoncé Knowles-Carter or Shawn Carter. Not personally. So what I am not a fan of are their public personas; Of what they are putting out into the world that will stand as their legacy. This is something every artist has the opportunity to choose and painstakingly craft for ourselves. Our brand. Our public persona. Don’t we? Most of us don’t have a team of 20 to help us do it though.

Voldemort.

I remember a while ago, I said I wasn’t a fan of Beyoncé’s public persona at an art show during a conversation, before I became a little more leary of how obsessed others become with the lives of others. After I said, it there was a sharp intake of air from the guy I was talking to. He choked and sputtered a little bit, gave me a very suspicious once over. His response was not unlike someone overhearing some foolish character in Harry Potter saying ‘Voldemort’. Isn’t an art show of all places a space where we can discuss what we aren’t quite in alignment with and why? Isn’t this where discussions with obnoxiously, pompously smart people happen? Oh… Ok. No? I was obviously mistaken. Pardon my ignorance. Keep my real opinions to myself. Right.

We didn’t talk again after that. Not being a part of the Beyhive to him meant we were incompatible, even as just friends. Call me crazy but I think that’s weird. Since when don’t I have the room in any relationship to not like exactly what you do? Is this who we’ve become as a country. Just joking. That’s obviously rhetorical. Look what’s going on with us politically.

#Sad | #Genius

For the first time, recently, I saw all of the “Apeshit” video. (Sure I’m a little late on this but does it matter?) Heard all of the lyrics. I came to understand that fame is a disease. It is really a monster. I don’t know who said it first but Gaga made it famous: Fame is a monster. It’s dirty. It changes things. The lyrics writhe and revel in the idea of fame and public validation:

“I said no to the Super Bowl: you need me, I don't need you
Every night we in the end zone, tell the NFL we in stadiums too
Last night was a fuckin' zoo
Stagedivin' in a pool of people
Ran through Liverpool like a fuckin' Beatle
Smoke gorilla glue like it's fuckin' legal
Tell the Grammy's fuck that 0 for 8 shit
Have you ever seen a crowd goin' apeshit? “

Have I ever? Umm…well, first I don’t every really refer to anyone really in terms that compare them to animals. It insults animals and people at some point and then you know the history of brown people being referred to as apes and such? Right? Have I ever seen a crowd going ‘crazy’? Sure. For me? No. That group of people is relatively small. Most of us have no experience with playing stadiums. Of course you don’t need the NFL, but you do know what they use those stadiums for right?

If this is all for the sake of being ‘ironic’ or if this is a caricature or parody of a self-centered, self-contained universe and I didn’t get it, well, what can I say? But if it isn’t…

My only question would be if this was all anyone ever heard about you, heard from you, experienced of you…Would you be satisfied? Is this what you’d want others to know and remember?

I loved the video (I am honestly a fan of most of Beyoncé’s videos). Love. What’s genius: juxtaposing yourself (as artist) with some of the most famous and recognizable pieces of art (even for those who don’t study art). Genius: being posed as royalty in a world where the worth of brown skin seems to have taken a sharp nose dive (prison industrial complex anyone?). Genius: cinematography, choreography, styling. Genius: having dance leotards correspond to the color of each dancers’ skin. Therefore giving it value and importance. Genius: using an institution ( the Louvre) that houses some of the most famous works of art in the world, where most of said works of art have those of us whose skin is on the darker side of brown, usually just depicted as slaves or servants and rarely in positions of power. Baby? Haven’t we arrived? Insert The Jeffersons (or something more recent and relevant) theme song here.

It takes bravery, even when you’re already loved and accepted as a certain type of artist to do something conceptual and different. To play the long game and go a little deeper. Like any other artist, it’s taking a chance that some will get what you are attempting to convey and others won’t.

What’s sad for me though: the lyrics; for both of them. Their work together and separately. That’s it. Nothing else I really don’t like. But isn’t that all? Aren’t lyrics everything? Or at least a huge part of the music experience? A great beat has its place, but I digress…I believe in everyone’s right to express themselves and not give a sanitized version just for the sake of public consumption. We are multifaceted beings. But. You have to take a bath a some point don’t you? Clean your house at some point, right? Face the sun at some point. Or don’t I guess…But I say show your smart self. Use the vocabulary that some don’t believe brown people possess. Evolve. Do more. Be more. Be something other than a stereotype. Being something other than a stereotype does not mean becoming something that is simply easily digestible and that doesn’t shake people.

Here is a word puzzle/analogy/SAT word association: Painting is to hanging on someone’s wall behind their coordinated sofa as Popular Music is to elevator music.

What artist strives to simply hang on the wall in someone’s kitchen (I guess it might depend on who’s kitchen to some) or be Muzak? Not many. It depends on what your goals are. Most artists want to be relevant. Not just part of a conversation but the entire conversation or those who change the conversation. When I think about music I think of playing it in my car and the people next to me hearing it, am I proud of what I am playing at eardrum bursting decibels? I think of young impressionable children being influenced by it. Are they encouraged to change the world, be creative, love…or “go apeshit"? It is the same way I feel about the art I create. I want to meet people where they are and take them on a journey. When people ask me to explain my work and speak about it intelligently I need to be able to do so without putting up walls that others can’t see around or get over don’t I?

A pet peeve of mine with other artists though is feeling that you have to put negativity into the world in order to add gravity to its meaning. In order for people to understand that darkness exists you don’t have to use the vocabulary of darkness or inject it into everything. For people to pay attention. Not only the dark side is meaningful. The balance is the meaning. Negative is already there. It always is. Without me or anyone else creating more of it.

The words! It’s about the words! You can’t change history. Even something as powerful as art can’t change it. You can paint it differently. That’s all. It is just a fact. Just like you can’t erase slavery or turn it into something positive, you can’t take n**** and turn it into a ‘positive’ word. It’s not my word. It’s not your word. It is hate manifest as a word. For me it affects the way I absorb anything.

Be More Than The Brand.

What I am a fan of as far as Beyoncé being and entity unto herself, Jay-Z, and The Carters as a partnership is the business sense. The branding. The polish. The vision. Magnificent.

My challenge to them and any artist honestly is to forget about the hubris, fame and all of its trappings. Do your work. Do good work. Be more than the brand. Be deeper. Be more than the polish. Understand the legacy. Be more than the words. Convey meaning. Be more than just Hip-Hop royalty, the manifestation of a bygone era that benefits from hierarchy, caste, women bumping and grinding/staying in their place, and stepping on the neck of someone else to validate a sense of self-importance. Be regal and be artists with a conscience and a true understanding of how what they make affects the world around them.

Could You Be Standing In Your Own Way Creatively?

TALENT: An Interview with artist Jo DeSerio Jones

Right now ‘recycled art’ is a trend that can’t be denied. There are many artists making the move toward incorporating recycled components into their artwork…for now anyway. More than likely a large number of them do it because all of the other cool kids are doing it. But what separates those artists who say they recycle because it tugs at a potential customer’s heartstrings from those who recycle because they care? I talked a little to artist Jo DeSerio Jones about what separates her from the pack and how she's saving the planet one piece of art at a time.

Atelier: What type of work do you do? What's your favorite media?

JO:  I'm a mixed media artist making mostly jewelry. I find inspiration in many forms. At this time I am particularly fond of metal, fossils, concrete and leather.

Atelier: How do you incorporate fossils? Do you use a special process to prep them?

JO:  I'm currently making molds from fossils, then casting in concrete or resin and adding many patinas until I get the look I love. So I'm creating new fossils that look old!  I later incorporate them into my jewelry as layered components. 

Atelier:   What inspires your work for Jomama? I've noticed a number of influences; steampunk, nature... What influences you the most?

JO:  My biggest inspiration is from nature in the form of materials such as wood, pods, shell, and fossils, [also] patina from weathering and rust; as well as shapes that only nature could create.

Atelier: I love that you incorporate nature into your work. Is there a deeper meaning when adding it into your pieces? Spiritual or otherwise?

JO:  I've always said I feel a connection with the earth. It may come from childhood where I spent a lot of time outdoors where I lived in Northern New Jersey. I look at items that nature offers as a gift, not a byproduct. 

Atelier:  Right now there seem to be lots of artists incorporating eco-friendly components into their work, what separates you from the crowd and makes your work different?

JO: Being an environmentalist is a way of life for me first. I'd have to say that my work is a byproduct of my lifestyle. I'm not just creating eco products, I'm living it. Not only do I recycle items and work with found objects, but I also search for products that have the least environmental impact as well as buying things that are local or made in the USA. All being important aspects of sustainability.

Atelier:  That's awesome that you take all of those things into consideration when creating your work. Do you feel like it might be only the job of a few of us (artists) to incorporate eco-sensitivity into our work while others focus on other things? Or can we all do our part?

I think we can all incorporate eco-consciousness into our work, but your eyes have to be open to the opportunities around you, no matter what form they come in. 

Atelier:  So you do commissioned pieces as well. Talk a little about what goes into completing pieces for clients.

JO: Typically when someone commissions me it's because they like the uniqueness of my style. So going into a project I know that I can be me. However, I ask questions pertaining to their likes and style, such as colors, a feeling they want it to reflect, or incorporating personal items or family heirlooms into the piece so it is a part of them as well.

Atelier:  Which do you prefer doing, work for others or your own personal projects and why?

I'm an artist, so I definitely prefer working on personal pieces that don't have limits. There's satisfaction in that freedom and it shows in your work, making it more desirable.

Atelier:  What do you feel is our responsibility as artists in educating the public about recycling? Do we have a responsibility specifically as artists? I know this is kind of a repeat of my earlier question, but can you talk a little bit more about your perspective?

JO:  I feel we have a responsibility as humans. I have come to realize through the years that there can be a lot of unnecessary waste in the art world that every artist should try to be aware of. I think if you are an environmental artist that you should most definitely educate people about the ways of your work and items used. That is how we educate, inspire and open people's eyes to new ways of thinking. People are amazed by some of the things I reuse. I see the intrigue in my work all the time when I do shows and it's very rewarding. I love when I inspire others and get them to think outside of the box!

Atelier:  Any projects you working on at the moment?

JO:  I am currently working on more steampunk ballerina sculptures for and art exhibit I will be participating in this fall called "The Lucky Ones". 

Atelier:  Tell me a smidgen more about the show. What's it about?

JO: The exhibit will be curated by an artist who is very involved in the community. Last year's event was covered by PBS and the local cultural division [where I live]. The common thread amongst selected artist seems to be color and texture, including photography and paintings.  

If you want to find out more about Jo and her work check out her site www.shopjomama.com

 

What Are You Waiting For?

As artists it seems like we are always waiting for something... for someone to buy our work, for someone to recognize our talent, for someone to give us the job we've always wanted. To be the independent thinkers that we are, it sure seems like we do a lot of waiting for others to give us what we believe we deserve. Furthermore, the people we are waiting on tend to be corporate entities and organizations (in general not purveyors of independent thinking and creativity) holding our futures in their hands...or do they?

For a long time after being out of school I looked and looked for a job in Graphic Design. I looked in Jacksonville. I looked in Philadelphia. I looked in San Francisco. I was looking for other jobs too and had worked other jobs, but what I wanted was a job doing what I loved: being an artist. I'm not sure why it took me three cities and several years to understand that when no one is offering what you want, even if you've really worked for it, maybe you have to create it for yourself.

How does one get something that only another person can give them if they don't want to give it to you? Good question. I'm not talking about them though, I'm talking about you. Create the opportunities you want for yourself. 

How do you create opportunities for yourself? Here's a couple suggestions:

1. Waiting on a job? Create your own. If you didn't know, there are freelancing and contracting sites for artists as well. It's not all Monster and CareerBuilder out there. Carbonmade is one example but there are many portfolio hosting sites that also make your work accessible to those looking for artists for temporary or contract assignments.

2. Want to build your rep? Offer to work for free (for a trial period) or volunteer. I know it seems counterintuitive, but providing your services and to a non-profit or an organization that needs them might put you in the right place at the right time. If you are offering a trial period for your services make sure you are proactive and specify an end date. In both of these types of situations don't forget to protect your work and ask for testimonials and/or letters of recommendation in exchange for the work.

3. Want to participate in a show/exhibition? Organize your own. Sitting around waiting for the perfect time, opportunity, and people to align so that you can be in a show is sometimes like waiting for a unicorn to appear. I know I make it sound super easy... because actually it is. It is just a large amount of work and organization. I've done it. I looked for other artists to show my work with and they disappeared or just didn't follow through. I ended up doing the show alone. But it was great. Stressful and a whole lot of things went wrong, but it's one thing I've done where things weren't anywhere near perfect and I was still very proud of the experience I gained.

I've just given you three examples, But there are many situations in which you can create your own opportunities. You just have to look for the way out of what you feel is a room in which you are trapped, there's usually a simple way to solve your problem--usually it just involves making your own exit.
 

Art Clique. Art Crew or Art Cruel?

 I think clubs are great. Not the dancing, loud music kind (though those are awesome! Who doesn’t love dancing??), but the ones where like-minded individuals who have similar interests get together and bond. This doesn’t mean that you all think exactly the same things and execute your artwork in the same way. It could be something as simple as you are all writers or sculptors; or it could be nothing at all except your desire to share a space. Whatever has brought you together has the potential to be a great partnership.

The Rise of the Collective…Again.

Over the past few years there has been a steadily growing trend of artist collectives and cooperatives for various reasons. Artists coming together and forming communities is nothing new though.

Sometimes ‘more’ is just ‘more’, but in the case of artists combining their assets, so to speak, ‘more’ can definitely beneficial.

The More We Get Together…

Not all cliques are bad. Artists get together to share studio space, do collaborative projects and performances, panel discussions, and create educational programming. All events and situations can go just a little bit smoother when working ensemble. When we as artists come together we can exchange ideas, be inspired by one another and have the opportunity to create so much more.

Throughout history artists have also come together as a response to being excluded from the more mainstream and conventional fine art circles.

A few examples: The Eight was a group of artists (mostly) associated with the Ashcan School; The Anonymous Society of Painters, Sculptors, Printmakers etc. organized a showing of art that eventually became the Impressionist Movement. Afri-Cobra was an artist collective that came about as a response to the turbulent and revolutionary 1960s and 1970s. They were a group of artists bound together by their political and social commentaries. See? As groups and collectives these artists ended up being much stronger initially than going solo.

Here Come the Cons…(the Opposite of Pros, That Is)

As the universe would have it there is a yin to every yang. There must be an opposite and opposing force. So just as getting your own art crew together may have its benefits there are also possible side effects or crappy circumstances that develop. Sometimes we are absolutely oblivious. So here’s are a few hints that your once super and supportive art crew has gone art cruel:

When Your Art Buddies Have Gone Bonkers.

1. When You Are No Longer Allowed to Be an Individual. Just because you are a part of a group it doesn’t mean you are supposed to do exactly the same thing as the artist next to you does. If you are being pressured to copy someone else’s style or technique. You aren’t being allowed to develop organically as an artist. No chemical fertilizers necessary ;) 

2. When Other Artists Spend More Time Bad-Mouthing Other Artists Instead of Producing Work. High school and various non.elective work situations are toxic enough! Why would you choose to subject yourself to negative gossip fests about other people who are more than likely…wait for it…working!? Plus talking bad about other folks makes you feel yucky inside. We don’t want yucky insides do we?

3. Is This an Episode of “The Young and the Artless”? If there is drama in your workspace or every time you and your crew get together this could be a drain. When you are drained you aren’t focused. When you aren’t focused you don’t do your work. When you don’t do your work you aren’t happy. When you aren’t happy you make other people miserable. Don’t make other people miserable.

4. You Feel Less Creative. Who wants to be a part of an art group that makes them feel less like creating new work? Working with others has the potential to infuse new energy into your work and career, especially if you’ve only worked solo. So if you no longer want to make anything or do anything while associated with your group, maybe you should rethink the group thing.

5. When Being Apart of the Group Yields More Negatives Than Positives. This art collective/cooperative thing should be good for you. It should be a positive thing to say the least. If dues or rent have become a strain, you are pulled into secrets and intrigue (Who really wants to live in a Clancy novel? Read yes. Live no.), or if you are plain old unhappy, let it go.

Here I Go Again On My Own.

All of this talk about groups making you feel lonely? No need. If you work best on your own there’s nothing wrong with that. A lot of us artist types love to go off and do our own thing and that’s great. Just keep in mind there’s a whole other world of collaboration out there. You just have to know when it works for you and when it doesn’t.

I’d love to hear what you think. Are you a part of an art crew? How do you feel about it?

Encourage someone else to ‘get reincarnated’! If you liked what I wrote feel free to pass it on. Thanks for reading.

No one likes a pretentious traveler…or artist.

We travel to understand others and to understand ourselves better. I believe the same is true of art: by pursuing, studying and producing art we develop the potential to understand ourselves a little better, if we allow it to happen.

Recently, I was reading the founder’s monthly comment in a travel magazine. Absolutely love the magazine. It’s beautiful as well as informative, but the founder said something that irked me a bit. Here’s the excerpt:

“This summer, I was sitting at a café on the Amalfi Coast, talking with a waiter about what I do for a living. “Did you start a travel magazine just so you could travel the world for business?” he asked. I laughed. That would hardly be a reason to start a travel company. Besides, I traveled for business long before [my magazine] began.”

I know to lots of people this would hardly be offensive. But honestly, why couldn’t ANY reason be a reason to start a company? A smidge condescending. I really had a vision of him patting the waiter on the top of his head. Why not learn something from the question? Love or passion, not money, as a reason to start a business? Hmmm… A novel idea. We should do an article on that. (This is me having the one-sided conversation in the founder’s head by the way). Maybe if he’d seen the waiter in a different light instead of focusing on his ‘more sensible’ reasons to start a business, maybe they would’ve had a different kind of conversation.

Art ≠ Superiority Complex.

This is also the problem with some of us art types: we sometimes see ourselves in a superior position to those who aren’t ‘us’. Our condescending and dismissive attitudes towards those who aren’t artists or even towards other artists can work to alienate us from our potential audience, fans, buyers, and even others within the artist community. It really doesn’t make you look mysterious or interesting when you act like a jerk.

If someone doesn’t understand your concepts, ideas or techniques use it as a teaching opportunity, not as a chance to be snarky. If another artist doesn’t do things the way you do things it doesn’t mean your way is the right way. Talk to people human to human. I don’t mean preach or talk at people either; I mean really have a conversation. Use art as a vehicle to connect to other people. Remove your ego from the equation.

When you are at a show, yours or anyone else’s, to avoid the dangerous pitfall of being a jackass (even an artistic jackass is a bad thing) you should ask questions of those you are speaking to before giving your personal opinions. Here are a couple of examples to get the conversation going:

• What type of art do you find yourself drawn to? Literal images or things more abstract.
• So what do you think about the work? (Simple I know. But it works.)
• Do you know anything about _________ (fill in your media, process or artist name here)? I can share a little bit if you are interested.
• What other interesting shows have you been to recently? This could also be a great opportunity to plug your work or the work of another great artist you know.

Keep your ego in check. Ask a question. Listen to what someone else has to say. You might learn something…or just have a great conversation.

I'm interested in your feedback. Do you enjoy speaking with others about your art or simply art in general?