Established Establishment

Oh. Hey.

Hello there.

Maybe I’ve taken a wrong turn somewhere.

I thought I was applying for funding alongside those who are emerging and established artists that hadn’t yet been nominated for a Pulitzer Prize.

Obviously I took a way the f**k left instead of going the way I was supposed to…whatever way that was.

Well.

Since I’m here. Can you tell me if it’s truly possible not to be biased in favor of someone putting in a grant app right next to me who’s already done a show at Carnegie Hall and a group that made a movie with Spike Lee?

Me? Oh. No movies yet or documentaries. Or articles published about me by BBC or New York Magazine. Yet.

Ill just keep working on that grant app…

Share Some More. For Real This Time.

Share Some More. For Real This Time.

So, one time, I was talking to this other artist who'd become wonderfully successful. This person did really great work and I was wondering what their secret was other than having great work. It seemed like sourcing funding was a big part of their success. At the time I didn't know much about finding my own funding and such things were foreign to me. As most of us artists have probably said at some point in time to each other longingly: “I wish I’d been taught grant writing in school…”

That Razzamatazz That You Do So Well.

So, I said (to this artist who was also someone I felt was a friend): "How do you do that grant and funding razzamatazz that you do so well?" (Nah, I didn't really say 'razzamatazz' but how can I pass up using that word?) So I asked what I believed was a relatively benign question. I was blown away by their response. Want to know what their response was? Dead air. Blank space. Silence. Zip. Zero. Zilch. Nada. Rien. And I quote: “I just look around.” That was all I got. So I pushed a little for more detail and still I got nothing.

Keep in mind, I didn’t ask this other artist to write a grant for me or hop onto Google and search on my behalf. None of that. I simply wanted a little direction. A smidgen of assistance. See, I had no idea where to start. Up to that point I’d felt that I was floating out in the middle of the great huge ocean that is being a ‘professional artist’. Deciding that you are going to be a professional artist is a frightening enough choice, but to then have a friend ignore a plea (a really desperate one) for help. I was heartbroken…and I was also confused.

Friend or Fear?

Why would my friend not want to help me? As pitiful as it sounds, that is exactly what I asked myself. Just add tears (I’m really sensitive.). It took me a little while to figure it out, but eventually I did. Sadly, after that initial experience, I ran into other artists who exuded the same sentiment: fear. The fear that there isn’t enough to go around is pervasive within the arts community. It stops us from sharing with other artists. There won’t be enough money. Someone is going to take my spot at the show. The judges might think their work is better than mine. I don’t need the competition. All excuses. Fear is an ugly, horrible, corrosive beast (check out my other posting What Would You Do If You Weren’t Afraid). Don’t get me wrong; I understand where the fear comes from. It can be tough to be an artist and earn a living; not to mention lots and lots of work. Every break you get helps. And I agree that resources are finite. I’m also not saying that my work is so fabulous that it strikes fear into the hearts of other artists, I’m just saying this person would’ve been afraid to share their experience and golden information with anyone.

All The Cool Kids Are Sharing.

If you decide not to help a fellow artist here's what you miss:

• You miss the opportunity to mentor someone.
• You miss the opportunity from stopping someone from going through the same pain and anguish you had to go through to learn your lesson.
• You miss the opportunity to create a sense of community among artists.
• You miss out on the opportunity to be nice and helpful.

So share. Then share some more. I’m not saying become a Wiki for someone trying to bleed you dry of all your knowledge. Sharing should be a two-way street. Just don’t be afraid to help someone obviously in need. You will feel better when you share even just a little bit. Promise.

I'd be interested to hear what you think.

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.