Art Schools & Careers

Explore Art Schools and a Career in Arts

Making art important again

ireland-rainbow100The times they are a-changin’, as the song says.

As I write this in December 2009, I’m seeing growing pains in our society.  We’re in an economy that no longer supports the status symbols many people equate with happiness.

Sure, some people are still scrambling for overtime hours and second or third jobs.  Others have run out of options and sit at home, mourning the loss of their platinum charge cards.  (Last month, a friend received a platinum MasterCard with a $300 line of credit… when did that become “platinum”?)

However, many people are tossing out pretense and looking beyond status symbols.  They’re looking at the quality of life, and how that can be improved.  They may be at the “early adopter” level, and this is just the tip of the iceberg.

As more and more people come to terms with the shallowness of status, they’re going to adjust their priorities.

crafts-throwingpots=jzlomekI think we’ll see some or all of these resume their importance in daily life:  family, recreation, traditions, “the best things in life are free,” spirituality, beauty, deep emotions, and — of course — the arts.

We portray what’s important to us in our art, and people want those symbols around them in their homes and places of work.  Whether it’s a family portrait, a religious icon, or some other emotionally rich artwork, people will want the energy that original art brings them.

I believe that — once the economic dust starts to settle — we’ll see a renewed interest in (and support of) the arts.

However, between now and then, there may be some challenges.  Since so many people think of art as a luxury, it may be among the first to slump in the popular marketplace.

(Movies seem to be an exception.  In past recessions and depressions, movies appeared to gain popularity in direct proportion to how bad the economy was.)

Educating people to appreciate art — and to believe that they deserve it, and it feeds their soul — may take longer.  My recent article, Art as emotional education, suggests one plan of action.

Also, shortly after the U.S. recession of 1981 – 82, the Bread & Puppet Theater published the Cheap Art Manifesto.

Making a portion of our art products available at “cheap” prices may be a vital part of art education for our community.

Yes, we still need to earn a living wage.

flowers-pondlilyHowever, I think we’re on the brink of change.  As we reinvent our society based on new economic realities, we have an opportunity to restore art to its rightful place among society’s priorities.

By stepping up and participating in these changes, you have a chance to make a difference.  You also place yourself in a position of visibility as an artist.

Short-term, it’s important not to abandon your art.  Don’t give in to the idea that nobody can afford art.  Above all, don’t stop making art.  Even if you’re merely showing it (at private gatherings in your home/studio) or practically giving it away… keep making art!

The times are definitely changing, but artists have always been the visionaries.  We see what’s ahead and find ways to make it even better.

We’re approaching a time when we can make art important again.  As you plan your next career steps, keep that in mind.

Success in art

Success in art… what does it mean?  If you want to reach your goals as an artist, it’s important to know what ‘success’ means to you, personally.

For many people, success is about earning a living with art… and only art.  For others, it’s fame.  Yet others want to achieve a certain level of expertise or skill.

Your motivation may be different.

But, to achieve your goals–no matter what they are–it’s vital to dig deeper.

Earning a living

How much is ‘earning a living’?  Ask any rich person if they’re ‘rich enough’ and they’ll probably say no.  There’s always someone richer who seems to live a better, more lavish and happier lifestyle.

So, does ‘earning a living’ mean $280 a week?   If you worked a 40-hour week at $7 an hour, that’s what you’d earn, before paying taxes.  Is that enough?

Do you have another dollar value in mind?  Think about this.   Get at least a ballpark idea of the figure.  That’s the only way you’ll know how much your works (or performances) have to sell for, and how many you’ll need to produce to meet your financial goals.

I’ll tell you my financial goal:  It’s to make enough money to live comfortably (no yacht, but I’d like a nice house on the seacoast and an annual trip to see my daughter in Florida).  I want to be able to make my art without nagging worries about bills or expenses.  I have a general idea of how much that is, and what I need to do to reach it.

Fame

Many artists want to be famous.  Money is a secondary concern.

If you’re reaching for fame, what would it take to say, ‘I’m a famous artist’?

Would you need to be on the cover of a particular art magazine?  Would your art need to sell for a certain amount?  Maybe you want at least one of your paintings in a particular museum.

Until you know what you’re aiming for, you won’t know how to get there.

If all you do is work in your studio and hope that fame and fortune will find you… Well, you could have a long, disappointing wait.

If you want to be in a particular magazine, contact artists–preferably artists in your area, so you can chat face-to-face–who were in  that magazine.  You may already know someone who writes for that magazine, now and then.

If your goal is to sell your art for a certain amount at a particular art auction house, go to their auctions.  (Be sure that they sell contemporary art, not just art from the early 20th century and older.) Chat with the people who buy there and who work there.  Find out what sells for high prices and why.

(It’s best to talk with the staff when they’re not busy selling.  Just remember that they want you to be a successful artist, too;  selling art is the only way they make their commissions.  Generally, they’re always looking for new, popular art–and artists–as well.)

If you want your art in a particular museum, find out how other artists got there.  Did they build their way up through galleries and lesser museums?  Did someone on the acquisitions staff ‘discover’ them?

Skill

Many artists set a goal of being ‘as good as’ another artist.

Just as with fame and fortune, it’s important to define that clearly.

Maybe that other artist–or one who’s nearly as good–teaches classes that you can take.  Maybe you can study with the same person who helped them find their best ‘artistic voice’.

There’s always a path

No matter what your goals and how you define ‘success in art’, there is a way for you to get there.

However, just as you can’t go to the airport and say vaguely, ‘I’d like to go somewhere in Europe,’ you need to have an idea of where you’re going with your art career.

Once you’ve clarified that, you can see the next step to get there.  You’ll know what your next action is, to move forward.

Success in art is achievable.  You simply need to know what your goals are, and the next small step to move towards those goals.

Copying others’ art – deliberate or serendipity?

We’re all inspired by outside sources. I see nothing wrong with seeing, say, Dave McKean using cheesecloth for texture in his art, and realizing that it’s a great idea… an idea that I intend to use in my own art, in my own way.

Is that “copying”? I’m not sure. Depends upon your definition, I suppose.

But, I still maintain that line-for-line copies just don’t have the same energy as the original art.

And, if someone’s taking an idea that I was working with… even if it looks a lot like my art, it’ll still have that distinctive energy of the artist who created it.

For example, if someone makes (and sells) dolls from the patterns that I share at my website–which is totally okay as long as you don’t claim that it’s your original pattern–the dolls will look different from mine. I’ve seen this.

But, okay, I’m just-a-teensy-bit phobic about people thinking that I’m copying. Part of it is hearing the regular ridicule of the pack of artists all of whom use the same style of hats on their figures, and other similarities. It’s like a clique, and… yes, sometimes, it looks odd.

Every time I hear a comment about that group, I wince and consciously do things differently from other artists.

But, is my knee-jerk reaction any better than those who are copying each other? Does copying–or consciously not copying, have anything to do with art? I wrestle with this issue.

For example, I have wonderful wing stamps that I’m only now taking back out of storage. When everyone-and-her-sister were putting wings on things, I didn’t want to be part of the crowd. So, I put my wing stamps aside.

Now, I’ve decided that whether the trend is fading or it’s here to stay, it’s foolish to stop using wings (which I adore).

Likewise, I’m about to haul out my sewing machine and massive fabric collection, and resume fabric collages. I haven’t made them in over ten years. Others are doing similar work now, but I went through a time of being phobic that my fabric art might look “too much like” others’… even though my fabric collages were popular back in the early 1980s.

I’m slowly realizing that people (artists) whom I like as friends… Well, we have things in common. And, those commonalities will, at times, express themselves in art that may look alike to some people.

I can’t fret about others’ reactions any more. I did that for most of a grim 20-year marriage. So, as I’m recovering my full artistic voice, I’m realizing that there is art that’s frantic to emerge… and so it must.

But, the “copying” issue is still a problem, not just in terms of copyright (which has devolved into “letter of the law,” not the spirit of it), and if I look at the similarities between DaVinci and Michelangelo, and Monet and Manet… this has been going on for a l-o-n-g time.

Related link: Copyright Term and the Public Domain in the United States

The Quadrants, revisited, by Robin Retallick

The following article was written by Robin Retallick in 2007, and it offers a more creative, right-brained approach to the classic “quadrants” proposed by Stephen Covey (“7 Habits of ____” author).

Let’s begin by understanding a couple of things here:

1. If you’re reading this, then you may be among those looking for a “fix” to life. We see others that seem to have it all, and we can’t seem to get ourselves organized. If only we could find the secret to success. Well – read on.

2. All of our life is spent in the NOW. Yet how much of NOW do we spend being regretful or anguished about the past, or worried about the future? Answer (for most of us) – a lot!

So let’s think a little about what to do in the NOW that’s right now – what to do first.

Stephen Covey’s Quadrants

Let’s look at Stephen Covey’s quadrants from his best seller “The 7 Habits of Highly Effective People“. As Covey himself admits, this is just common sense – but it sure helps to have it laid out logically. If we classify what we have to do in terms of both Urgency (X-axis) and Importance (Y-axis), then we get four quadrants:

1. Important & Urgent
2. Important & Not Urgent
3. Urgent & Not Important
4. Not Urgent & Not Important.

If you’re feeling overwhelmed, it means you’re spending a lot off time in Quad 1. What Covey shows us is

A. If we allow ourselves to be driven unconsciously by the “tyranny” of the urgent but (mostly) unimportant (Quad 3), then we’re condemning ourselves to more of Quad 1.

B. The more time we spend in Quad 2, the less we will spend later in Quad 1.

So for the overwhelmed, it’s good information – make a chart of your To-Do’s and plan differently.

But for most of us, it’s not the best model for organizing our lives because much of the time, we’re quite capable of putting off important stuff – be it urgent or non-urgent. In other words, we procrastinate.

Ken Blanchard’s Quadrants

Ken Blanchard (“The One Minute Manager”) in his latest (“The On-Time, On-Target Manager”) lays out his quadrants a little differently:

1. Have to Do, Want to Do
2. Have to Do, Don’t Want to Do
3. Don’t Have to Do, Want to Do
4. Don’t Have to Do, Don’t Want to Do.

Most of us don’t have a problem with Quads 1 and 4. If it’s Quad 1 we just go ahead and do it. If it’s Quad 4, we just never do it – no big deal. It’s Quads 2 and 3 where the issues arise because many of us gravitate to Quad 3 at the expense of Quad 2, meaning things that do have to be done don’t get done.

The Blanchard advice is to do them in the order Quad 2, Quad 1, and spend little or no time on Quad 3 items. To use this model, once again chart your To-Do’s and plan accordingly. You will be better “organized”.

Working With Quadrants – A Suggestion

My problem with both of these is that, in my experience, none of us will continue to do things we don’t want to do unless we’re forced to do them. We may be forced by a boss. But if the boss is us, then unless we can get pleasure from the very knowledge that we’re now “organized” (and some can), we’re still not going to stick with it.

If that sounds like you, then you’re normal and sane and you’re not weak and you’re not poorly disciplined – so get off that kick. And here’s the good news – you’re not condemned to have less in life than those mythical “other” “better organized” people out there!

If you’ve considered the Blanchard quadrants, think for a minute about what determines why you would ever “want to” do something. Answer – because it’s fun, because it brings you joy, lets you feel good. I’m going to suggest we substitute the words “inspired to” rather than “want to” because it implies what’s actually happening here – there’s a collaboration going on between you and your inner self – your inner being – that’s causing this feeling. And nothing nada, zilch, zip ? is more important than feeling good.

Now let’s look at the “have to” bit. I’m suggesting here you think about these as the “must” do’s and the “should” do’s. The rest are “could” do’s.

1. Should/Must Do, Inspired To Do
2. Should/Must Do, Not Inspired To Do
3. Could Do, Inspired To Do
4. Could Do, Not Inspired To Do

Now segment your To-Do items and look at how many lie in each box. Starting from the bottom, Quad 4 is sort of a catch-all bucket for all sorts of things. There’s not much energy involved so you can safely ignore these items.

Next let’s look at what’s in Quad 2. If you’re typical, you’ll have lots of entries here. You may find that this is where you hang out a lot.

Quads 1 & 3 are where you need to be. In other words, in order to be truly “organized”, the task is to get the stuff in Quad 2 into 1, 3 or 4. You can work in Covey mode, or you can work in Blanchard mode. But if you truly want to break out of the rut, your “work” is to change the way you think and get inspired.

First things first

True time management and personal development means that you need to spend some time each day in quiet mode – either meditating or visualizing what you want. If there’s no time in your busy day to do that – make time. This is your truly important task. And as you do, ideas will come.

You don’t have to take quantum leaps. You don’t have to put yourself into a tailspin by quitting your job, or your relationship. If you spend quiet time, ideas will come to you and opportunities to take advantage of those ideas will come to you. In an easy and relaxed manner, your life will become what you’re visualizing.

A few quotes

“Follow your bliss, and doors will open for you that you never knew existed” – Joseph Campbell

“What we ponder and what we think about sets the course of our life. Any day we wish; we can discipline ourselves to change it all. Any day we wish, we can open the book that will open our mind to new knowledge. Any day we wish, we can start a new activity. Any day we wish, we can start the process of life change. We can do it immediately, or next week, or next month, or next year.” – Jim Rohn

“Whatever your mind can conceive and can believe, it can achieve.” – Napoleon Hill

“Stop thinking trouble if you want to attract its opposite; stop thinking poverty if you wish to attract plenty. Refuse to have anything to do with the things you fear, the things you do not want.” – Orison Swett Marden

The breeze at dawn has secrets to tell you. Don’t go back to sleep. You must ask for what you really want. Don’t go back to sleep. People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep. – Rumi – a Sufi poet

Robin Retallick is a business owner and CEO who, like many of us, is on a journey of discovery seeking some of life’s answers and learning how to achieve abundance. From early involvement with Christianity, he’s moved to an understanding of the Law Of Attraction with all that that implies. As modern physics merges more into the world of the “supernatural”, he sees the potential reconciliation of the spiritual with the scientific. He shares his insights, and processes and resources that work. http://www.money-health-relationships.com/

Article Source: http://EzineArticles.com/?expert=Robin_Retallick

My comments:

If you’re reading this article because your productivity has slowed to a crawl, and you’re one step away from feeling utterly stuck as an artist, there’s just one book you must read to pry yourself loose from that:  The War of Art.

No matter what you think is holding you back or holding you down, this book will have a simple answer for it.  I think I’m currently on my third copy of it.   Yes, I read it (and lend it to others) so often, I’ve worn out two previous copies.

Trademarks, original ideas, and copycats

Copying is a regular topic of discussion among artists. Recently, someone suggested copyright and trademarks as ways to protect clever product or workshop names that we use, and so on.

I can’t give you legal advice. I’m not a lawyer. But, here are a few of my experiences and opinions:

I’ve trademarked “Aisling D’Art” in NH, but that was inexpensive, and it was the NH way of filing (and protecting) a DBA. I’m not putting TM after my name every time that I use it. That’d be silly.

(When we put a TM after a phrase when we’re writing online, it’s usually a joke, btw.)

I’m not convinced that it’s worth the time or trouble for a small business to trademark a zine, eBook, or workshop name.

My opinion is, unless you’re the first one to do something, or the first to do something WELL, you don’t have much protection when it comes to ideas, titles, or names. Ultimately, it has to be about you, personally, and the energy that shines through in everything that you do.

Of course, those of us with slightly neurotic Virgo tendencies, get caught up in the “if you can’t do something well, don’t do it at all” trap: We don’t follow-through with great ideas because we can’t do them perfectly.

Likewise, don’t hold yourself back from great ideas because you’re neither first nor the best to do them. Or, because you’re afraid you’ll be copied.

But, unless it’s the most blatant act of copying AND you’ve got deep pockets for a protracted legal battle, don’t get bogged down by fears that you’re “copying” someone else (even inadvertently), or that you might be copied, yourself.

Oh yes, a clever workshop name makes your class stand out from the rest, sometimes. But generally, students take a class because they want to study with YOU, first & foremost.

Quirky brand/business names–such as Yahoo, Google, and Amazon–are just funky enough that people tend to remember them. “Branding”, as it’s called, is an entire field of study in itself; Internet marketing expert Seth Godin has given his books such stand-out titles as “The Big Red Fez” and “Purple Cow.” That’s a good idea.

From there it becomes a PR game, so that you (and your project) are well enough known that anyone else who does the same thing, is labelled as a copycat.

Be the very best YOU that you can be. Don’t copy, of course. But also, don’t worry about the copycats, and don’t fret if it turns out that your original idea was–at the same time–being developed in someone else’s studio at the same time.

Do what you do, and do it as well as you can. And, as you approach the big leagues, get attorneys to sort out trademark issues for you. That’s my best advice on the subject.