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ADVICE FOR EMERGING ARTISTS (excerpted from the Artist Trust Journal, Spring 2000) In 1999, Artist Trust conducted some field research by asking over 500 Washington State artists how they make their work and what resources they need to do so. While we received some very helpful feedback, we were concerned that the majority of the respondents to our queries were artists 40 years of age and older. In response to this, Artist Trust is making a special effort to reach out to emerging artists. In addition to learning more about the needs of emerging artists, we would like to assist them in reaching an active professional level in their artmaking. To do this, we have continued to develop our information resources and are in the process of collecting information and advice specifically for artists just starting out in their art careers. Sometimes, the best advice is from those with experience – from those who have had successes and failures, who have learned along the way and at times, learned a better way. Artist Trust has asked seasoned artists and arts professionals what advice they would give emerging artists. We let them pick the topic and here is what they had to say: Sheri Cohen, Choreographer and Performer When applying for grants pay close attention to all the advice you get about making a good work sample, presenting a clear project, etc., and then forget about it until it's time to apply. Meaning: make your work, make it in a way that pleases you, make it well, and make it often. Esther Luttikhuizen, Director and Co-Owner of Esther Claypool Gallery Some tips on approaching a gallery: 1. Know the gallery’s aesthetic first hand. If you consistently like what they show, there’s a chance your work might fit in. 2. Be courteous and ask, before sending, if the gallery is reviewing portfolios? Unsolicited packets, especially when the gallery isn’t looking for new artists, can be a real annoyance. 3. Your portfolio should consist of one sheet of slides, a resume, a short statement, and (if you have it) a newspaper review. The slides should be good quality and labeled and should represent a consistent body of work. Keep it simple and cohesive, and always include a SASE! 4. Be patient. Reviewing unsolicited portfolios will probably be a back burner, rainy day project at the gallery and it may take months to get to yours. 5. If you are an emerging artist, seek-out other opportunities to get your work seen (regional group shows, alternative spaces, benefit auctions). Galleries looking for new artists watch for new talent in these places. If they see and like your work, they might approach you. 6. If your work doesn’t get picked-up, don’t be dashed. Each gallery is following it’s own esthetic. If your work doesn’t fit one, try another. You need to be resilient. Learn how to handle disappointment, to believe in yourself, and keep on going. Jamie Hook, Filmmaker and Executive Director of the Northwest Film Forum My number one piece of advice for artists is for them to force themselves to pay themselves at equitable rates. There is no point in working as an artist if you are going to have to stop the minute you have a baby, or buy a house, or a car. So artists are responsible to consider what they do respectable, and ask for money shamelessly. In this country, unfortunately, asking individuals for money is how an artist survives. Michael Shrieve, Composer, Musician and Member of Artist Trust’s Board of Trustees I think it's best to try to approach a career in music without the weight of "FAME AND FORTUNE" on your shoulders. That pursuit will most likely lead to disappointment. And one of the most amazing things this path brings you, after being let down, and in debt to record companies, and giving in to an A&R man's sensibilities of what you should sound like, is that you slowly begin to enjoy music less and less. I have seen time and again musicians lose their love of music because of the feeling of betrayal the music BUSINESS brings. I have experienced it myself. That's why my suggestion is to think small, think honest, think what moves you, and move in that direction, with a sense of relaxed purpose and appreciation. It is what you find most pleasing and intriguing that will keep you coming back to it time and again. Second, learn about the business. There are plenty of excellent books available to teach you the basics of publishing, copyrights, record contracts, etc. Learn the tools to put your music on the Internet. Find your audience, or like-minded people on the net, they are out there! Third, keep a source of income at all times, separate from music, if you can. If you are making enough from music then that's great. But remember it's usually the need of money that forces us to do things we may be sorry about later. Live frugally and within your means, so you can do the things that are really important to you. There is a wonderful, life changing book called "Your Money or Your Life" that I recommend to ALL artists. It really forces you to take a good look at what you really want out of life. Most of all, never forget the reason you loved music in the first place, and keep that close to you. The truth is, the music will NEVER let you down, if you are true to it. Amy McBride, Metalsmith and Public Art Coordinator of the Tacoma Arts Commission Work Samples: I often get the question "I don't have slides, can't the jury just look at photographs?” Even if it is allowed, it makes the artist look bad, like they weren't professional enough to have slides done or follow the rules. I would recommend having a few nice color photographs and a few black and white for publicity purposes only. Public Art Commissions: Making the transfer from being a studio artist to a public artist requires a set of professional skills that work in addition to your skills as an artist. You may already have these skills in your life; you just have to define them. Communication skills, ability to work with budgets, public speaking, teamwork, construction/building experience and coordination/administrative knowledge are all valuable in the public art arena. When applying for public art registries or projects describe how you have these skills and could apply them successfully in a public art project. Don't sell yourself short. Try this exercise to avoid self-doubt and writer's block. Write down all your skills and experiences without editing them. Then write down a variety of categories like those listed above. Organize your skills by category. This will help to quantify your skills and define your strengths. Conversely, you may see where there is room for improvement. When you can clearly define your skills, you will be better able to write and speak about yourself confidently. Kris Christensen, Poet and Creative Writing Instructor Getting Published: When approaching an editor, remember the golden rule: Treat editors, as you would wish to be treated. Don’t waste their time with under-developed work. Whenever possible read the journal or books published by the editor. If you don’t connect with the work they publish, they probably won’t appreciate your work. Respect editors’ requests regarding reading periods and simultaneous submissions. Remember that few editors are paid for their time. They do their work because they love literature. These seem like simple suggestions, but too many writers overlook them. These two strategies have made my submissions process more positive and productive. First, I think of editors as my allies. Many times repeated rejections have kept me from publishing work that I later saw was not fully developed. This attitude keeps me from feeling resentful and defeated. Also, I make a list of journals I admire. When a manuscript comes back I immediately send it to the next journal on the list. This takes the sting out of rejection and reminds me that the submission process is just business. It is the writing, the art that is essential in my life. MFA Programs: If you expect a graduate program to guarantee fame or a teaching position, or if you are looking for easy fixes for your writing, you’ll be disappointed. An MFA program can take years off your learning curve and lead to long-lasting relationships with other writers, but I think a positive graduate school experience requires a student to take full responsibility for his or her own learning. I realized early in my program that an MFA degree is not a substitute for a lifelong commitment to self-education. For me, three years of graduate study provided a foundation and the experience that makes my self-education easier and more productive. Cynthia Gould Brown, Senior Project Coordinator, King County Public Art Program Though we like to think that great art markets itself and will naturally find good homes, there are a few things to consider when pulling together information for a public commission, prospective gallery or exhibition. |