Art Collectors Are Not "Artists"

Even in the world of Music, musical instruments, guitars and guitar players, there are those who are "Artists", who through Music are trying to communicate their creativity, and then there are "Art Collectors" who are people who call themselves a "guitarist" or an "artist" but who buy and collect guitars essentially as ornaments in their own "private museum."
"Art collectors" are not "Artists."

The number of guitars a guitarist owns is not a sign of whether they are an artist or and art collector.
It is how they perceive their instruments and what they do with them that separates these two.
Artists try to create a "wow factor" in their audience by playing their instrument. It is what they play, or how they play it, and the message in their music that wins the audience over. That achievement is one of the satisfactions of being an artist.

Art collectors try to create a "wow factor" in their audience by what objects they have on display in their collection, much the same way as how we perceive a museum or zoo.

When artists try out a new guitar they play it, listen to it, feel it, compare it's capabilities with what they are trying to do with their music, and determine whether it matches their creative needs, or not. If it does not, they try something else until they find the instrument that "does it for them." With the instrument of their choice they feel better equipped to create and be the artist that they truly are.

When Art Collectors try out a new guitar the first thing they do is inspect it, not for playability and sound, but for it's appearance, it's physical attributes, and how "nice" it looks. They check for flaws, marks or blemishes and pour over specs lists and wonder such things as "where is the wood from?" or make comments like "it has a bit of a dent in the wood on the headstock." Whether it plays or sounds any good is secondary to the "wow factor" of it's appearance.

The artist is not so worried about their image as much as they are about their music. Their instruments are their creative outlet.

The art collector is worried about "image" more than their music. They treat the instrument as an artefact rather than as the tool for their creativity. They go crazy if they get a little mark or scratch on their guitar. The go to gigs or to the studio with more fear of "damaging" their guitar than to do the job. They criticize new guitars for their finishes or appearance rather than their electronics or sound.
Professional guitarists usually have many guitars. And they play them. Each guitar has it's use. Different guitars are required for different songs, styles of music, gigs, environments, and recording requirements. One guitar is not enough to satisfy the professional guitarist's requirements or demands. A large collection of guitars is necessary for the professional musician.

The artist's collections of guitars get used.
The artist's collections of guitars get knocked around, bumped, chipped, dropped, exposed to the elements, dirtied, broken, repaired, etc, Guitars go through frets, tuners, pickups, pots and jacks, when they are used for what they are meant for.

The "art collector's" guitars don't get used.

The art collector's guitars never get properly broken in, never get the required setups or care required, and deteriorate naturally through the passage of Time. They are merely ornaments. They are not being used for what they were made for and they get wrecked from disuse.

"Art Collectors" are not "Artists."

Gaskell Guitars is an Australian guitar manufacturer that makes left-handed guitars and left-handed basses only. Available world wide. For information on Gaskell guitars and basses visit this link: http://www.gaskellguitars.com

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9 Hip Options For Filling Your Walls With Art

Have you ever walked into a friend's home and felt a bit envious of their art collection? Maybe they have huge abstract oil paintings, or perhaps a neat collection of photographs or illustrations. If your empty walls feel more like your worst nightmare than a blank canvas, this post's for you. Many people find they have trouble figuring out what to put on their walls, and others just don't know where to look. We've rounded up a list of our favorite online places to find affordable art. With these websites, you'll be able to find something to fill your wall no matter what your style or budget. The greatest thing about online art shopping? It's the perfect way to shop with the whole family! Young kids might not be interested or able to go to local art galleries (where we do recommend trying first) but gather around the computer screen and everyone can have a say, as well as be exposed to great artistic styles.

Here are nine hip options for filling your walls with art:

20 x 200
This website offers a neat idea. Each week, two pieces of art (a photo and a drawing) are featured. The smallest size print of the work is available at the lowest price and the largest batch, and the largest size priced the most and available in the smallest batch. Brilliant, really. With lots of different sizes and price ranges, you'll love all your options.

Tiny Showcase Art
Another website dedicated to bringing affordable art to the masses, each week they choose a new piece of tiny artwork and turn the work into a limited-run print production, with really affordable prices.

Art Wall Online
This site is a virtual display space that exhibits art from independent artists. Art is placed on a virtual wall, and all of it curated by founder Katie Stephenson.

The Beholder
This website is an online gallery that shows and promotes emerging and contemporary artists. While not as affordable as some other online art websites, you can still find some great deals, and always great art.

New Blood Art
This website specializes in artwork by new artists who are still early in their career, meaning you get the chance to buy affordable art from an artist who could very well be famous one day!

Creativity Explored
We love this website because it's affordable art for a good cause. Creativity Explored is a nonprofit arts center for artists with developmental disabilities. Fifty percent of profits from art sales go directly to helping out the artist.

An honorable mention goes to:
Little Paper Planes; the only reason this great website isn't on the above list is because I've just discovered it myself! You'll of course not want to forget about two other online resources that you can sometimes find great affordable art on: Etsy and eBay. If you're in Austin and looking for local art in person first, a great place to start is the Austin Art Garage. Full of the freshest artists in Austin, prices are kept intentionally low so everyday people can invest in art. We recommend doing research in your own city to find a similar place for art.

Jennifer Gruskoff is a screenwriter who lives in Los Angeles. Earlier this year she launched a company called Goodkin http://www.WeAreGoodkin.com a website that focuses on the lifestyle and trends of non-traditional families, where she is currently Editor In-Chief.
http://wearegoodkin.com/article/hip-online-art-resources

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How to Protect Your Money from Art Forgeries?

Art forgeries are all mischievous imitations of works of art, used for gaining money from the naïve art collectors. Art forgeries are different from art copies. Art copies of certain paintings are usually made by other artists. For example, the students of da Vinci, the famous Caracci, Durer , and Rota, copied some of his sketches and paintings to exercise on his style. Art forgeries are worthless, while some art copies can be priceless, depending on the artist that did them.

If you are still new in art collection, you had better learn some things about art forgeries, before spending you money on something that is utter rubbish.

First of all, upon buying an art, carefully examine the signature of the artist. Art forgeries are usually very precise when imitating the artist's signature, but some clues can be found, if you attend closely to the painting. The signature can vary slightly from other signatures, and if you have doubts, you had better consult with a professional.

Another important thing to be done is to check everything about the artist, his or her exhibitions, all the paintings he or she has done. Learn by heart all the important dates in the artist's career so that not to be taken in by a forger's lies. Before buying anything, learn as much as you can about the artist. Get a grasp about the artist's common style, the materials which he or she uses, the type of the canvas or paper. Another point of interest is age. Don't take it as granted, if the seller told you that the painting was very old. Art forgeries are well-known for the special procedures of making a painting look older than it actually is. Besides, not all artists from the past were famous and worth spending a fortune on their works.

OK, so everything is fine and the painting seems authentic. What if it's stolen? You have to check with the FBI archive of art thefts in order to make sure you aren't getting into anything illegal. You should find an appraiser before buying anything. A list of appraisers can be found on the site of Art Appraisers of America or the American Society of Appraisers. You just need to specify your state , and you will get the list of professionals that live nearby. They can give you precious advice and can also protect you from getting an art forgery.

So, if you intend to make art collection your hobby, you have to be very careful what you buy. But if you simply ADMIRE the painting itself and don't give a damn whether it is a Monet or not, you should buy it. Afterwards, collecting art is not just a money investment, it also brings aesthetic delight and happiness.

Article by Robbie Darmona [http://www.robbiedarmona.com] - an article author who writes on a wide variety of subjects. For more information click Art Forgeries [http://www.artsbury.com]

Article Source: http://EzineArticles.com/148881

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Are Tattoos Art? Artists Poll Results

I had the privilege of polling a group of about 60 artists/art enthusiasts about tattoos and tattoo designs. The main question I asked was, "Should Tattoos be considered Art?"
There response was rather quick and to the point. Over 70% of the nearly 60 people asked replied "Yes, of course," with over 90% admitting to tattoos being art "more often then not." Less then 10% thought either tattoos "weren't true art" or "very few should be considered art."

Overall a pretty strong backing from the artist community. Of the comments received, there were a few themes that tended to recur. One of the first themes was mentioned in this comment...
"... anything created with the human hand is considered art, whether the canvas is a wall, skin, fabric, etc. or whether the medium is ink, food, paint, pencils, charcoals, digital program, etc. Once you think about it, if you transposed the image from skin to paper, people would say the image is art."
This theme, that the body is just another canvas, incapable of canceling out any degree of artistry, showed up in a lot of comments. It makes sense to me, but the concept of being branded with a permanent ink sways some critics the other way, saying it's "completely inappropriate" to taint the skin and call it art.

Another common theme that the group was pretty passionate to point out was this... when a design was tattooed onto you, it had better be original. And not only an original tattoo, but constructed specifically with the intent of being art for you and your body. This qualified it enough to cross most people's threshold and be considered "art." Many agreed, saying "unless it has a special meaning to the person..." that a copy of an image wasn't art. The idea that "some just copy a design out of a book..." gains no respect from these artists. Maybe a little harsh, but originality keeps art ever evolving, even with tattoos.

Although most credit the amount of skill a tattoo artist must have in order to successfully do his job (noting how under appreciated they are in the world of art), a side question did come out of the discussion that I thought was interesting. They thought another question worth asking along with "should a tattoo itself should be considered art" was whether a tattoo artist was considered an "Artist" or not. I think this is a great question, but also a lot easier to answer.

The way I see it, you can see someone's total body of work (no pun intended) and judge it based on a few elements - like creativity, repetition of designs, mastery of the craft - and come up with a pretty decent case to whether a person is an artist or not.

The question of whether a tattoo is art or not comes from the opposite side, which is more of a gray area. Whereas people can respect skill, intent and artistic ability enough to judge someone as being an "artist," art, for whatever reason, seems to be seen with more of a critical eye. People are more vocal to discredit it, or argue against it.

Take that fact and couple it with a technique (tattooing) that some people don't agree with in principle, and you have grounds for an interesting discussion. It seems, though, that artists are not among those against it, and favor tattoos and original tattoo designs joining the party more often then being excluded from the label of "art."

Nate Richards is a tattoo enthusiast who authors the site [http://www.InkOrArt.com], where people vote and comment on whether specific tattoos are considered 'art' or a 'waste of ink'. Submit your own tattoos to see if people really think you have "art" on your back.

Article Source: http://EzineArticles.com/3887181

art gallery and store in London

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The Enormous World of Women and Art

Throughout history, Women and Art have been closely related with the females playing several key roles in artistry. They have been depicted as powerful goddesses, both in Greek and Indian mythologies. In the Classical Age, women were submissive and were therefore, portrayed differently. Later on, in the Modern Age, women are reflected as independent and strong. A Woman and Art have had indissoluble alliance, with art reflecting the evolution of women through ages.

The records of early women artists are non-existent but several studies have indicated that Women & Art in Pre-Historic Times were associated. Generally, the women artisans used to create Pottery, Textiles, Baskets, and Jewelry. Women in those times also indulged in Cave Paintings. In Medieval Times, women shouldered many responsibilities with men. Manuscript Illuminations, Embroideries, and Carved Capitals, are the examples of Women and Art association during these times. Later on, during Renaissance Era, several secular women artists garnered support from other artists. Art during these times led to several cultural changes and women were at the forefront of all these changes. Several new philosophies, such as Humanities, led to the shift in the creative thinking of the society. During this period, in western culture also the records suggest that women were depicted in art and were used as models for painting. During these times, it was understood that the beginning of the most form of art is human figure and therefore, the art in these ancient civilizations were replete with sexual or erotic representations, and their association with sex and the human body.

The world over, Women & Art are constantly evolving. The female artists have been creating artworks that depict their life, experiences, and all the changes that have made their art more acceptable and apparent within the art history and art practice. Most of these changes took place in the late 1960s and prospered throughout the 1970s. These changes form the foundation of Woman & Art of today. Women and Art have also influenced men and have introduced new practices in the way they create art. This has led to the birth of several new types of artwork. Most of these women artists today have considerable presence in the new age media, that is electronic media and internet based work.

Women have always fought against the odds. When it comes to Women and Art, then too they had to swim against the tide to obtain their rightful place in the art history. Women have achieved this recognition despite difficulties in training, trading of their work, and gaining recognition. The introduction of painting live models also made it difficult, for the reasons of decorum, to obtain the specialized training required for a women artist in Medieval Times. All this changed in the twentieth century giving them the much-needed recognition. According to a British magazine, "Latest Art" the top five greatest women artist of all times are, Artemisia Gentileschi, Mary Cassatt, Georgia O'Keeffe, Diane Arbus, and Frida Kahlo.

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com

Article Source: http://EzineArticles.com/1485479

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Exhibits Various Works of Art

An art gallery is a space where artists can display their works of art to public. It refers to a series of rooms where various forms of arts are exhibited for public review and sale. In such galleries, the most commonly displayed medium is painting. Besides painting the other forms of art that are showcased in these venues are sculpture, photographs, illustrations etc. Although it is focussed on such applied arts but it also hosts other activities related to art such as music and poetry.

The art gallery can be classified into private and public galleries. In the public art galleries, a limited and selected collection of art is displayed to the public. Whereas, the private galleries or contemporary art galleries refers to a private-profit-motive intended for the sale of art. Private art galleries agglomerate in urban areas. But, both art galleries carry a common objective i.e to promote art and encourage the artists. An art gallery very often choose to represent an artist's work exclusively to gain business contracts. In these venues, people get opportunities to meet renowned and fresh artists. Art lovers can exchange their ideas and enhance themselves with the changing views and perspective.

An art gallery acts as a career launcher for young artists. Fresh artist can showcase their work for interpretation that helps a lot in shaping their creativity and also make themselves acquainted with the changing views of the people. To encourage and perpetuate the species of artists art galleries held showdown. The winners are awarded with scholarships or worthy prizes so that they can execute their expenses and keep their spirits high. The tradition of art gallery has undergone a sweeping change. Artists can now create their own profile and upload their images online sitting comfortably from their homes. They can upload multiple images and distribute it through emails and e-cards.

The best place to know artists and purchase good work of art are the art galleries The transition in the world of art can be known by visiting an art gallery.

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How To Train Your Newly Adopted Puppy

Do you want to save a puppy at the pound? Do you want to add a purebred pup to your family? Whether you want a show dog or a loving old mutt, bringing a dog into your life will supply you with hours of love. It also comes with responsibility and you can learn about that in the following article.

Take the time to make sure your house is dog-proofed. Before you bring a dog into your home, you should be sure that the area you're bringing it to is safe. Make sure anything toxic is put up. Some common house plants that are toxic to pets should be removed from your home.

Make sure that your dog is spayed or neutered. Studies show that these operations help your dog live longer and can reduce cancer risks. A spayed or neutered dog is also less likely to stray from its home, meaning it won't risk getting lost or winding up in a street accident.

Do not fall prey to the temptation to feed table scraps to your dog. If you feed from the table, he'll become a beggar and stop eating his own food. In addition, table scraps are simply not good for your dog's health. They can cause obesity and other problems. Make your dog stay out of the room when the family is eating.

Rather than merely using verbal commands, it is wise to utilize hand signals when training your dog. Hand signals can really help your dog. Try both methods to see which your dog prefers.

Avoid buying your dog bargain-based food. Cheaper brands have tons of additives, preservatives, and ingredients that can harm a dog's health. You should contact an animal advocacy group or a consumer awareness program to get some recommendations for quality dog foods. Your dog can really benefit from better food.

Avoid trying to force things into your dog. If your dog doesn't like the treat you've bought, don't make him eat it. When you first get a dog, you should take some time to get to know what it likes and what it dislikes.

A trip to the vet should be at the top of your schedule if your new dog's last home was the animal shelter. Dogs are more likely to be sick or have exposure to viruses in the shelter. Therefore, you should ensure your new dog receives its vaccinations as soon as you obtain it.

Do not buy cheap food items for your dog in an effort to save money. Overall, your dog will benefit form a lifetime of quality food. Though this may cost you a bit more, you can rest easily knowing that the dog is eating properly.

You have the information you need to properly care for your new dog now, so get ready to show your dog its new home. Keep learning because there is always new and fresh information out there concerning care for your dog. Think about signing up for forums if you want to discuss your furry friend with other owners. You can always learn more, so you should never stop educating yourself.

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Art, Artists and the Web: Part 3--What to Put on an Artist's Website

What to put your the website if you are an artist.

1) The art work Try and think like a gallery hanging a show. Would a gallery put 20 paintings of an artist's art work on one wall? No, because the visitor would be completely confused and not be able to focus on any one painting. The same rule applies to artist's websites. If you cram 20 pictures on one
page the Web visitor will move on. Feature a few paintings on each page.

The opposite is also true. Do not put only a few pictures on your artist website. There is nothing more frustrating than finding an artist that you like on the Web and not being able to see a representational body of work.

2) Background color
Background color on a website is just as important as it is in a gallery. White, light gray, cream are all safe colors. Black can be very dramatic way to highlight paintings, however, black makes text almost unreadable. If you use a color, which can be done effectively, make sure that the color works with all your art work and reflects who you are as an artist.

3) Design
Keep it clean, classy and simple. Make sure to visit "Websites That Suck." www. websitesthatsuck.com.Make sure your artist's website loads quickly; visitors on the Web will not wait, they will leave.Stay away from all the newest flashy innovations that web designers often like. They usually irritate the visitor and take longer to load.

4) Search engines only read text.
Search engines do not explain how outstanding your art work may be. They only read text. It is very important to have text on your website. The more relevant text the better.

5) Text on a website is different than text in a book or
magazine.All the lessons that apply to "regular" writing do not apply on
the Web.When you are writing text for your website, think bullet points and outline. You want sentences to be short and choppy; phrases work well. Paragraphs should be short. Make your text chatty and do not be afraid to start your sentences with words like "And" or "Because". Writing for the Web is the opposite of what you learned in high school and college.

6) Splash pages are now out.
It used to be that on your Home Page you could put a gorgeous picture of your art work and then move on from that to the rest of your website. This is called a "splash page". Search engines no longer like splash pages. It is now recommended that on your home page you have text explaining what the entire website is about and links to all the major pages.

7) Connect with the visitor.
Just having fabulous pictures of your art work is not enough. A Web visitor will usually visit one or two pages and most likely seldom or never return. It is very important to give the Web visitor a reason to stay on your website as well as to come back. The usual artist's statement is not going to
accomplish that.

Tell or show your Web visitor something about you. It could be a picture of your studio, people love to visit studios; information about what inspires you; your technique, if you have an unusual one; a particularly interesting interview with you. Use your imagination

Give away free information. Visitors on the Web love that. There is probably something obvious to you that is big news to your average Web visitor. Share that information with
them.

8) Let the visitor know how to contact you.
Make sure the visitor on the Web can contact you as well as your gallery, if a gallery represents you. If the visitor can only contact the gallery, it feels as if the gallery is holding the artist hostage. The Web visitor will move on.If a gallery is concerned about an artist having an email address of his or her own, there is an easy solution. The person who sends the email gets an automatic reply saying their message has been received. The same email message can be forwarded to both the artist and the gallery, and together they can decide how the email could be answered.

9) Make your website easy to navigate.
Make sure that it is easy for a visitor to find his or her way around your website. If a Web visitor finds it the least bit frustrating, they will leave.

© Mary Baker 2005

Mary Baker is a contemporary realist painter, whose studio is in Newburyport, Massachusetts. This New England city, north of Boston, has been the inspiration for the artist’s realistic oil paintings. Mary Baker is a professional artist and has shown in New York art galleries.
You can visit Mary at her website, Mary Baker Art, at http://www.marybakerart.com, see her beautiful paintings and read her articles on a variety of subjects including, Art, Artists and Vocation, Creativity, Tips on Breaking the Creative Block , Why Buy Original Art and the four part series on Art, Artists and the Web.
A list of articles can be found on her Site Map and Mary's paintings can be seen on every page of Mary Baker Art.

Article Source: http://EzineArticles.com/42458

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Art, Artists, and the Web:Part: 2 - First Steps in Building an Artist's Website

What you should do and know if you are an artist and you
have decided to have a website.

1) Look at "Web Sites That Suck."
If you are an artist and have never had a website, the concept of a website can seem unnerving. The first thing to do is look at a web site called "Websites that Suck", www. websitesthatsuck.com by Vincent Flanders. This is a website that is so funny, and so enlightening and it is very hard to stop looking at it. You will also learn a great deal as an artist about the Web and feel much more at ease after that experience.

2) Get a domain name.
A domain name is "www. name.com" of your web site. Artists need to have their own name as part of their domain name, "www. yourname.com" or "www. yourname artist.com". It is not a good idea to have the gallery that may represents you as part of your domain name. Web visitors are looking for the artist, the artists art work, not the gallery. But, by having the website in your name, you also help the gallery, because you can promote the gallery on your website.

3) Find a person to design the website.
People like to design for artists; this is one of the "perks" of being an artist. There are a lot of great people involved with the Web who do not have huge overheads who can design
a very good website for you. The cost can be for as little as $500 or less.

4) Find a Hosting Company.
There are many places that will host your website for $100 or less a year. Your web designer should be able to help you with this.

5) Web browsers come in different sizes.
Web browsers come in all different shapes and sizes, from very small to very large. It will be impossible to make your wesite look perfect for every size web browser. This means that you as an artist will need to make some compromises. This is a good thing to know while you are thinking about your website design.

There are websites that let you look and see how your website looks in different sizes and on different web browsers for free. After your web design is completed, lookup "web browser size test tool" on a search engine to find one.

6) Copyright information.
It is impossible to completely protect your images on the Web. People simple do not pay attention to copyright information. Your best protection is to keep the images small, so if a visitor enlarges the image, it will look blurry. Also put "your name © the year" under the image of your art work. All the fancy things that are suggested for protection do not work. You can put copyright information all over your art work, I've seen it done, but it defeats the purpose of your website and web visitors will not return.

© Mary Baker 2005

Mary Baker is a contemporary realist painter, whose studio is in Newburyport, Massachusetts. This New England city, north of Boston, has been the inspiration for the artist’s realistic oil paintings. Mary Baker is a professional artist and has shown in New York art galleries.
You can visit Mary at her website, Mary Baker Art, at http://www.marybakerart.com, see her beautiful paintings and read her articles on a variety of subjects including, Art, Artists and Money, Tips on Breaking the Creative Block , Art,Women and Creativity and the four part series on Art, Artists and the Web.
A list of articles can be found on her Site Map and Mary's paintings can be seen on every page of Mary Baker Art.

Article Source: http://EzineArticles.com/42457

15 pcs. hair paint brush for US local artist

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Art, Artists, and the Web: Part 1--Why Every Artist Should Have Their Own Website

First rate art is in danger of being left behind in this new age of the global Internet highway. The World Wide Web is like Walmart or Home Depot coming to town. Art galleries as they now exist, are going to become the Mom and Pop version of selling art.

Chances are if you are an established artist, and look for your medium or subject matter on the Web, some very web-savvy artist will show up, sometimes repeatedly on the first two or three pages of a search engine and your name is no where to be found.

This can change, but established artists and the galleries that represent them need to start thinking differently about their approach to the Internet. And galleries need to help every artist they represent have their own website. This will make a revolutionary difference in how first rate art is represented, because right now really good contemporary art is hard to find on the Web, and because of this fact, really good contemporary art is in danger of becoming irrelevant or worse, obsolete.

Every artist needs his or her own website, and every artist needs to get his or her own website now. There are several myths I would like to dispel.

1) Websites cost a fortune.
Websites do not have to cost a fortune. There are lots of good people involved with the Web who don't have a huge overhead who are good at designing websites. Good websites for artists can be designed for $500 or less. You can get a domain name for under $10 and have it hosted for under $100 a year. This is one of the best investments in your career you will ever make. You also do not have to pay a fortune to get your website on search engines. For a presence on the Web, you need
patience, information and knowledge (more on this on Art, Artists and the Web: Part 4).

2) My gallery is in charge of marketing and I don't need a website in my own name. Every artist needs a website with a domain name that includes his or her name--"www. yourname.com" or "www. yourname artist.com." What artists do not need is a website that includes the gallery's name--"www.
gallery.com/yourname." Websites need to be easy to remember and Web visitors are going to pay a lot more attention to an artist that has their own domain name. Web visitors usually skip over websites that are hosted by galleries and pay almost no attention to artist's pages on gallery sites.

3) If I have my own web page, then the gallery or galleries that represent me won't be able to control the direction that the gallery would like to go in. The artist and gallery can work together in creating the artist's website. However, it can't feel as if the gallery is holding the artist hostage. There is nothing worse than finding an artist you really like on the Web, seeing a couple of picture and a link to the gallery. Web visitors never go back.

The artist's website can be an excellent promotional tool for the gallery. There is no reason why an artist's website cannot promote both the gallery and the artist. If the gallery is concerned about an artist having an email address of his or her own, there is an easy solution. The person who sends the email gets an automatic reply saying their message has been received. The same email message can be forwarded to both the artist and the gallery, and together they can decide how the email could be
answered.

Established artists need to become conscious of the new way people are viewing and experiencing art. There are literally billions of people out there who don't know that you or your art exists. They associate your subject or medium with artists who show up on search engines. They don't care about what gallery you may be associated with, they care about who shows up on the Web. If you don't start
showing up on the Web very soon, not only will no one know who you are, they won't even care.

But, great art doesn't have to be left behind. Artists and the galleries that represent them can join the new global Internet highway, have fun enjoying the ride and be part of the new global art revolution. Start now and start right away.

© Mary Baker 2005
Mary Baker is a contemporary realist painter, whose studio is in Newburyport, Massachusetts. This New England city, north of Boston, has been the inspiration for the artist’s realistic oil paintings. Mary Baker is a professional artist and has shown in New York art galleries.

You can visit Mary at her website, Mary Baker Art, at http://www.marybakerart.com, see her beautiful paintings and read her articles on a variety of subjects including, Art, Artists and Money, Creativity, Tips on Breaking the Creative Block, Why Buy Original Art and the four part series on Art, Artists, and the Web.
A list of articles can be found on her Site Map and Mary's paintings can be seen on every page of Mary Baker Art.

Article Source: http://EzineArticles.com/42456

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What is the Point of Art?

I've got a lot of gall. I admit it. When I am asked to juror an exhibition, teach, demonstrate or talk to a group of artists or host a TV show I don't shy away. I see it as another opportunity to spread the word about the transformative power of the arts in our society, our community. I try not to question why I do it anymore. It's important, so I do it. So do a lot of us.

Recently, however, a fellow artist confronted me about what I hoped to accomplish with all this "educating" I'm doing. "After all," he pointed out, "didn't you start out as an artist?" He went on to explain that the job of an artist is "to express a point of view, to satisfy an inner muse, not to educate the public about the value of arts in our lives." Naturally, this got me thinking, a very dangerous pastime indeed.

He was right. This whole thing started from a love of being inside the creative process. I truly love to express myself. I love ideas. I love to invent. I love the contradictions, which are all part of the making and appreciation of great art. After all, it's just my materials and me. I love to throw myself into an invented structure and fly away into the supreme ecstasy of the moment. Who wouldn't?
So why am I doing all this other stuff? When do I get time for me? What art have I done for me lately? I'm so busy writing this book, hosting TV shows, running a gallery, directing plays, managing programs, when do I have time to be an artist? People have even asked me, "when do you find time for a life," as if to say, "get a life."

Ouch!

It's true. Sometimes I get so wound up with all the stuff I'm doing and so caught up in all the questions about why I'm doing it that my head starts to spin.

Then I get to thinking, what if this whole bit I'm doing IS the art? What if my whole life is a work of art? I've always thought of art as a metaphor for life. But what if the opposite is also true? What if life is a metaphor for art? In other words, what if my entire life were one giant work of art in progress?
Everything I know about life I've learned as an artist. Art is not something I do for a living; it is who I am. It is my access to the present and to eternity and to the spiritually unknowable. I can't imagine doing anything else.

And I'm not alone in this passion. Others too, feel their creative life IS their life. And their lives are powerfully lived because they know who they are and what they are doing. Together, we are the creative community and we are the key to a healthy society.

That's why I talk so much about the need for arts. It's a pretty great life. And I live for the day when everyone can find a way to express their humanity instead of negating one another with hatred and wars and the black and white insanity that comes from a life without art.

Don't get me wrong. I'm not saying the arts actually contain all the answers to the world's dilemmas. Rather, it is the myriad of questions asked by the artist, which bring us ever closer to the truth. But never close enough to touch it. For instance, how is it possible that an artist can transmit the joy or pain of his/her life through the manipulating of common objects and materials available to everyone? What is it about listening to a Beethoven Symphony that makes being alive somehow make sense? We'd have to ask a lot more questions to get to the "Point of Art." The artist is someone who recognizes an amazing thing when it happens and has just enough skill and courage to create the circumstances where its true expression can be allowed to happen. Being an artist is to walk the thin line between order and chaos. The artist must learn to know when to take control and when to give it up. The lessons only great art can teach us, are a requisite for a balanced, fully realized life.

That's why I can't shut up about the arts. That's why I do what I do. Now, if you'll excuse me, I've got some art to make.

Since 1980, Robert Maniscalco's exquisite oil portraits and fine art have become part of over 850 distinguished private and public collections throughout North America. Born in Detroit in 1959, he is the son of internationally renowned portrait artist Joseph Maniscalco, with whom he apprenticed during the early 1980's. He moved to New York City in 1986 where he continued his studies and professional activities. In NYC he also worked as an actor and director on numerous stage, film and TV projects. He returned to Detroit in 1997 after a three year residency in New Orleans. In Detroit he founded the Maniscalco Gallery, which showcased many local and international artists. As host of Art Beat, the critically acclaimed PBS series on Detroit Public Television, he explored the creative process with his celebrated guests.

Excerpt from "Point of Art" by Robert Maniscalco, advice for the serious artist.

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Providing a Unique Perspective to Art

If you imagine meeting artists and studying their work personally then visit the art fairs. Art fairs are a festival where various art forms: both visual and other forms of art, are showcased to public. In such fairs, the participation of artists can also be marked.

The art fairs are held annually or at uneven period of time by internationally recognized curators selected by a committee of elite persons. For persons who admire art and artists will find the art festivals as niche in the world of art. The art lovers can acquire knowledge and have a vivid insight into the artists mind. By perusing the works of the artists they will also evaluate their skills and techniques of shaping ideas. Art fans will have a great opportunity to learn about the adroitness of artists. Art fairs also act as the platform to develop skills for young artists. For fresh artists these fairs of art act as the career launcher where they can exhibit their art. Artists of both local and worldwide admiration also display their work for sale or public interest.

Now-a-days the practice of displaying art has undergone changes. With the help of the hi-end technology art aficionados and artists can upload the images of their work and send it to friends and dear ones. Using the same provision artists can sale their work and also enable them to collect feedback to improve their work in a better way. The main objective of such art fairs is to encourage the species of young artists and art lovers. These art exhibitions also cultivate showdown to inspire art among the people by providing scholarships and other forms of support.

So, if you want to know more about art and artists just collect information about art fairs and pay a visit.

The best place to meet artists and have an unforgettable insight to the artists mind is by visiting art fairs Various forms of arts are displayed in the fairs for public entertainment and to promote art among people.

Article Source: http://EzineArticles.com/1362113

Artist 15 Piece Hogs Hair Paint Brushes and Pallet knife in Case - US

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Adult Dog Feeding Guidelines

If you are planning on adding an adult dog to your home you need to get an idea of the adult dog feeding guidelines that you will need to follow. Our canine friends come in many shapes and sizes. The levels of activity can vary greatly among pets and is an important consideration in determining energy needs. Sufficient nutrients are necessary to meet energy needs and to facilitate the repair and maintenance of body tissue.

There are a number of methods you can use to feed your dog dependent on your particular schedule and needs. One method is to provide two meals in a day preferably served in the morning and evening. This method employs giving equal portions for both meals and helps to monitor an animals caloric intake and thus maintain a desired weight.

Another method is designed to make food available through out the day. This method benefits owners who may be away for long periods during the course of a day. This method runs the risk of your dog consuming excess calories which leads to weight gain. Dry food is best used for this method as dry food is less likely to spoil when left out all day long. Another method for feeding your dog involves feeding your dog for a specified time period say thirty minutes and the removing the food. Again this can be used if your dog has a weight problem and you want to control how many calories she is consuming. For practical purposes it is advised that you feed your dog twice daily.

Activity level is an important consideration in determining how much food your dog will need. If your dog is a normal house dog he should receive a maintenance level of energy. If you have a less active dog you should reduce by 10 percent the maintenance level of energy. If you have an extremely active outdoor dog you should increase the maintenance level of energy provided by 20 to 40 percent.

Get the advise of your veterinarian for the best type of food products and feeding schedule for your particular dog. Additionally an animal that is ill or recovering from surgery will have differing dietary needs. Consult your veterinarian for proper guidelines in this instance.

Would you like more information? Get a free report: "Answers to the 15 most frequently asked questions about dogs." Visit [http://www.drdogreview.info]

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'Cross Current' Of Nigerian and Italian Artists: A Critique on Media Reports

Diplomacy which can also be referred as an art of international relations has recorded major 'success' in the recent times due to intercultural events/activities involving people of two or more countries. Some of these successes are mostly seen either in terms of the immediate gains of people involved in such cross-cultural events or the cultural education which has benefited the bilateral relationship between the nations involved. Without reservations, this kind of relationship is very healthy for peaceful co-existence of people on the globe. It is in view of this, that the M Contemporary Art would be commended for their courage and effort to stage "Cross Current"- a cross cultural exhibition involving Nigerian and Italian artists, which took place at the Civic Center in Victoria Island, Lagos (March 17-18, 2011).

However, it should be understood that in any diplomatic events between two or more countries, there is an undertone agenda (objective) to be achieved by the initiator(s) of the event. Having no opportunity of attending the Cross Current exhibition of ten Nigeria and ten Italian artists, I have relied solely on multiple media reports which are every where on the net. On the other hand, these media reports could not adequately satisfy readers by critically explaining the contextual meaning under which the exhibition was held.

Cross Current in context
First, it should be noted that, the exhibition was a clear avenue of exporting Italian culture to the outside world which Nigeria is more or less viewed as one of the best nations in Africa to market Italian visual culture. This was expressed by Marta Boazi of M Contemporary Art in the press conference that was held (15th March) prior to the exhibition. The issue now is that, why must Nigeria artists be involved? The participation of indigenous artists in the exhibition was, in a way, to neutralize home base criticisms which may arise as a result of staging an exhibition of, exclusively, Italian artists on Nigerian soil.

Criteria for Selection of works
From the reports of Safarinewsbeat.com, for example, it appears, "similarities between the works of Nigerian and Italian artists" was the yard stick or basis on which indigenous artists were being selected to participate in the exhibition. This per se contradicts the true panoramic picture (view) of Nigerian and Italian contemporary art in which Ms Boazi has been quoted to have mentioned in her speech during the conference. This is because, the "similarities in terms of work" as a bench mark for the selecting the participating artists only presents one out of the many sides of contemporary art practice in Nigeria. A fair selection would have drawn on the both differences and similarities existing between the works of Nigerian and Italian artists to represent the panoramic view. It seems also that, the choice of selection base on similarities was deliberate as it was neatly carved to enable the works of foreign artists find a subtle way of influencing Nigerian cultural environment in artistic way.

A Cross section of the participating artists
Nigeria artists that were choosing to take part in the exhibition can be said to be of high-profile in the contemporary art circle. For example, artists like Kalade Oshinowo and Oliver Enwonwu are well known figures in Nigerian art scene. The success of such artists in art has made them to experience as well as being influenced by the art practices of other parts of the world including contemporary Italian art. Their exposure in this way, made it is easy for them (the selected Nigerian artists) to beat the single curatorial criterion of 'similarities' as used by organizers of Cross Current exhibition. This is against many other creative talents which their works could have opened up other ways of viewing Nigerian art.

A return exhibition and the made in Nigerian factor.
The media reports also reveal that, the second version of the exhibition (involving Nigerian and Italian artists) would be held in Italy on a latter date which is yet to be announced. This obviously has one of two implications on the current made-in-Nigeria project. Although, Mr Meka Olowola (the representative of Oando plc, and one of the sponsors of the exhibition) view the exhibition of Nigerian art in Italy as a good avenue to "take the made in Nigeria dream and turn it into a world class project"; this greatly depends on the kind of art works which will be featured in the coming Italian-Nigerian art show in far away Italy. If the selection is going to be on the common ground of "similarities", then it should be noted that Italians will not see any significant difference between what they would be rating as genuine Nigerian art to what they practice at the moment. This, in a way, will conflict his (Mr. Olowola's) statement on the under representation of Nigerian art at international art shows. The category of works should be such that will represent the true values of the nation's visual culture: Unity in 'diversity'. The diversity should be seen in styles, materials used, indigenous artistic concepts, as well as the general motifs inherent in the works of the exhibiting artists.

The Way forward
At the moment, it appears as if Nigerian artists/art practice has an uncertain stand point in truly defining the nature of their/its art as against the views of outsiders on what Nigerian art is. If not so, Ms Boazi's attention should have been drawn towards understanding that, a panoramic view involves an all-encompassing survey of a particular topic or issue. Base on this, a panoramic view of Nigerian art can not be sustained on the works of only ten artists more so that it was based on the similarity criterion. The Italy exhibition, if ever held, should be directed toward addressing this. It is only through this means that the made-in-Nigerian dream (project) would be relevant to the outside world.

Check: http://art-in-disguise.blogspot.com

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Artists Ask Questions About Art Marketing

Artists of all levels have similar questions. These are answers I wrote for an interview in author Barney Davey's Blog.

How is it different for artists these days from a decade ago?
The quantum change has been the impact of technology. It's a double-edged sword. On the plus side, you can reach more people without leaving your studio. On the other hand, there is more competition and more complexity. Artists need to be able to navigate cyberspace as easily as the bricks and mortar world.

Technology has changed the way people find art. Now there are thousands of web sites to browse and comparison-shop without leaving home.
Technology has changed the way artists, art professionals and galleries promote. A web presence and involvement in social media are no longer optional.
Technology has changed the way artists offer art. It's now easy to create digital versions of originals on various substrates, in various sizes, on demand without resorting to upfront expense for production or dealing with storage.
Technology has changed the way we communicate. We live in a nano second world where speed can supplant quality.
I remind artists that technology is a tool to spread the word, not a replacement for communication person-to-person.

What things have not changed, i.e., need for an artist's statement, a résumé, and so forth?
The more things change, the more they remain the same. The human element is still the core of making, appreciating and marketing fine art. Even art mediated by technology starts with an idea in the artist's mind.

Artists still need a solid body of signature work as the core of their business. They are still in charge of their brand and the audience is still in charge of sales. Exposure is still fundamental to success so the work is seen by the right audience. Consistent marketing is still the key to a sustainable art business. Relationships and trust are still the bedrock of sales.

Are artists having success using social media?
First, you have to define success. If you measure success by numbers, connect with anyone and everyone. The great promise of social media is relationship building. If you want to build relationships, you have to be more selective. Decide what you have to offer and what you want to know. Limit yourself to people who want the same things. It's Pareto's Law: 80% of the possibilities come from direct contact with about 20% of the people. Success for me and artists I work with has come from actually having extended conversations with people online and talking by telephone or meeting them in person. I know - it's shocking.

How can artists maintain balance between creative, business and personal activities?
There are three categories here. Artists often think only about two at a time, which turns life into a teeter-totter. I define balance as a dynamic equilibrium of all the things that matter in your life. It's dynamic because life is always in flux. There is no such thing as finding the perfect still point if you want to fully live your life. You know things are in balance when your stress level goes down and you get the results you want, most of the time, in all areas that are important to you.
There are no hard and fast guidelines for creating this delicate balance. Like balancing a mobile sculpture, it is a matter of experimenting with different configurations until you find the one that works. Many of the artists I work with have health issues, are caregivers for elders or children or have jobs other than making art.

For some artists, it works better to have certain days for production that are "sacred" - no matter what. If this fits with the rest of your life, that's great! But not every life is so orderly - and on principle, many artists resist a schedule that is too rigid. In the end, it doesn't matter what method you use to get it all done. Just make sure that balancing is one of your goals.

Has the internet forever changed the artist-gallery dynamic?
Galleries were never the whole art market but artists can now easily represent themselves if they are willing to do all the work. Online galleries come in various flavors and artists need to do their due diligence to make sure that they know who they are dealing with. There are many reputable galleries with an online presence, but there are always a few that artists need to look out for. My money is still on the gallerists who limit the number of artists they show and have direct contact with each artist.

What is the future for visual artists? Will the digital age overtake traditional forms of marketing art? Have new marketing paradigms changed how artists get their work to market?
Art has survived since the cave days and I don't think demand for it will disappear in my lifetime. Creativity is hardwired into all of us. We live in a visual and graphic world, so there is always a future for image-makers.

• The drive to create is timeless.
• The need to see and interact is human nature.
• There are more ways than ever to create and communicate.

The challenge remains making the best work and the best choices of marketing. New channels and speed have changed how artists market and how fast we need to respond, but the buying process is still in the same.

What is the most common misperception artists have about a formal mentoring or coaching program, and how do you overcome them?
The most common misperception is that there is a quick fix for every art business. Books, programs and recordings are a great source of information - but you have to apply them for things to change. It takes personal reflection and/or discussion to turn that information into knowledge. Knowledge without application goes nowhere. You have to apply knowledge to see what works for you and what doesn't. That experience - along with successes and failures becomes wisdom you can take to the bank.

"Success is not final, failure is not fatal: it is the courage to continue that counts. Every day you may make progress. Every step may be fruitful. Yet there will stretch out before you an ever-lengthening, ever-ascending, ever-improving path. You know you will never get to the end of the journey. But this, so far from discouraging, only adds to the joy and glory of the climb." Winston Churchill.
Bottom line:

Find the spark that makes you and your work something only you can do. Make lots and lots of art. Make lots of connections. Build a handful of great relationships and nurture them. Art marketing is not as mysterious as it seems - it is simply a series of conversations designed to build abridge between you, your art, and your audience.

Subscribe to our newsletter today and receive a free art marketing guide: "Eleven Tips for Success for Fine Artists" Digital Recording and 15-page PDF Presentation at www.artistcareertraining.com/artmatters-newsletter/
Aletta de Wal
Author of the Forthcoming Book:
"My Real Job is Being an Artist: How to Make a Living Making Art"
Artist Advisor
Artist Career Training
(650) 917-1225 Pacific Time

Article Source: http://EzineArticles.com/6257657

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The Underappreciated Workers of the Art World

The financial success of an artist depends greatly on the art dealer. The dealer can bring the artist celebrity and money that the artist alone would not be able to achieve. The artist should be allowed to create and not have to promote or sell their works all by themselves. To most artists, money is a necessary evil, it buys comfort, art supplies, but it doesn't fuel the fire of artistry.

Art dealers are artists in their own right. They are masters of business and communication and as in any great relationship, their talents most often fill in where their partner lacks. On the most part, the art dealer is in the background, they are not appreciated historically as is the artist. However, they are celebrated by the artists!

One very famous art dealer was the man that first sold an Andy Warhol Campbell Soup painting, that man was Leo Castelli. At the age of 50, he brought many important artists to the forefront of the American arts from his gallery on the Upper East Side of New York. Artists, such as Rauscehnberg, Jasper Johns, Cy Twombly and during the 1960's, Andy Warhol and Roy Lichtenstein.

The talents of the men and women that work with the artists, to bring attention to their work and sell them, are just as important as the paint, canvas and artistic talent that creates the works of art. They are a very important aspect of the creative process and it is a fine profession made up of business people from all backgrounds that are in it not for a love of money, but for a love of the arts.

The art dealer is only one of many professions that the art world has created. The artist creates their very own economy and is entirely responsible for so many different professions. There are the curators of museums and the guards that protect the art. There are the historians that document the art and the archaeologists that uncover lost treasures. Scientists are even employed to date ancient works as well as come up with new ways to protect the art.

Thanks should go out to all of the people that work and live for the arts. Without them our world would be much different, it would lack the creativity and sensitivity of the artist and their works that we need to remain centered and focused forever on the future of humanity. Each person works tirelessly and with so little credit, but their jobs are just as important as the artist's.

These people are often not considered when it comes to the funding of the arts. The economy of the art industry employs so many people and they depend on the livelihood of the artist and the encouragement for new artists every day. It is very important to consider these people when it comes to government funding as well as private donations.

When we think of the famous painters and sculptors of our time, we rarely think of all of the people that are behind the scenes. In some ways, the art overshadows not only these people but sometimes even the artist. Art is larger than life and it is easy to get caught up in it and lose sight of the millions of people that have made it possible to view that art.

Art by Veny is the premiere online art gallery for Boston's own fine artist, Veny. Art by Veny is the showcase that allows art appreciators from all over the globe, the opportunity to buy acrylic paintings or even to commission original, custom art by Veny herself. In homes and businesses throughout the world, Veny's high quality acrylic paintings on canvas are an expression of emotion and feeling blended in color and lovingly captured forever on high quality canvas. Veny's freedom to experiment with art techniques has produced a style that is all her own. Buying artwork created by Veny will satisfy your need for high quality fine art with value.
Visit Veny's Blog at http://artbyveny.wordpress.com/

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Want to Go From Amateur Artist to Pro? Eight Rules You Need to Know

Being an artist, owning an art gallery in Los Angeles, and working for the world's largest fine art instruction program have taught me a few things about what an artist must do if he or she wishes to make a living as an artist.

The following rules are addressed to becoming a professional fine artist working in the medium of paint. However these tips can really be applied to any medium of art, whether it be painting, poetry, or music.

I sincerely hope they help with your artistic endeavors!

Rule #1: Know the Fundamentals of Your Art.
For years I played guitar without knowing how to read music. After learning music theory my music was much better and I was far more productive.

Before I understood the fundamentals of music I had an excuse ready when I couldn't make a song go right, I was too tired, I was having a bad day, or not in the mood.

As a result since I had no clue WHY I did what I did when creating music I could never reach that state of being cause over my music, let alone professional in anyway.

Knowledge has and will always be power. Don't just rely on natural talent, know the WHY behind what you do in your art.

Take lessons, if you feel you are too far advanced for lessons, then find a mentor.
Rule #2: You Will Learn How to Market Both You and Your Art.
In my time as an art dealer and gallery owner I have witnessed this same phenomena time and time again.
Two comparable pieces of art, each created by two different artists. One sells for $500 and the other for $10,000.

Why?
It always came down to marketing. One artist painted and displayed work in a gallery as the sole means of promoting.

The other artists would do promotional actions like press releases highlighting their new work, they had a professional website, they got interviews with art magazines, they networked with other artists, art professionals, and art enthusiasts, they got their work published in a coffee table books or calendars.

The ways to market your work are endless, the point is, you are going to have to learn how to market your art and yourself.

You could always hope that you create such an incredible work of art that the buzz created just by your painting will have the public beating down the door with cash in hand.
However that takes the responsibility of your success out of your hands and places it into the hands of the public.

When it comes to art, the public can be a very fickle entity indeed.
Honestly, do you really desire anything involving or related to the word fickle in charge of your destiny?

Rule #3: Do Not Succumb to Fear of Rejection or Failure.
Everyone has heard some variation of the story about the author who has a closet full of manuscripts that have never been read by another soul due to fear of rejection.
The duplicate scenario can happen to artist dealing in the visual arts.

Many successful painters still do not view their own work to be perfect. So if you wait till your work is "perfect" then you may very well be dead of old age before perfection happens.

Don't be afraid to get your work out there. People will love your work, hate your work, see it as mediocre, or see it as the beginning of a new renaissance.
Taste in art differs widely and you will never win over everybody.

Rule #4: You Will Give the Critics ZERO Attention.
I am not just talking about art critics, but just negative people in general. A lot people on this planet are miserable and they like to drag others down with them.

Some are overt in your face, "you'll never be any good." At least they are easy to spot.
The worst are the ones that give back handed compliments or deftly slide that needle of criticism into the conversation by use of passive aggressive means.

'The last piece of yours was much better, I don't mean to be mean but.., That is very good work for a student, but there is soooooo much competition out there in the professional world,' etc etc.
Of course if you called them on it they would profess innocence, say that you are over reacting, that they were just kidding. Don't buy it.

If you can, just don't associate with these people, if they are our family don't talk about your art work with them. You are an artist because you like to create art, not because you want to impress your family.

If you have no choice in being around these people just recognize that they are just lonely unhappy people, and above all, do not take it personally.

The only critique one should listen to is your professional drawing or painting instructor.
And be wary of that as well, make sure that at the same time they are critiquing your work that they are also showing you how to improve.

Rule #5: Speaking of Art Instructors, You Will Choose a Good One.
My wife originally came to America as a foreign student from Canada to study visual art in college.
Her first semester she took beginning drawing and painting classes.

She arrived eager to learn the fundamentals of the visual arts, line drawing, tones, use of color, proportion, and the use of light and shadow.

Instead she received a lot of airy fairy over significant mumbo jumbo. The main technique taught was the 'if it feels good then do it' technique.

No real techniques were taught because the art teachers did not understand them!

When choosing an art instruction school or studio please pick one that has a systematic approach to teaching the fundamentals of drawing and painting.

Interview your art teacher, ask to see their work as well as their students work.
Ask the potential teacher how they go about teaching the basics to a new student.

Rule #6: You Must Learn to Sell (or find someone who can and will)
The odds are, if you work is displayed anywhere where people can view it someone will come along who likes it, maybe even love it.

The problem comes in convincing them that they love your painting more than they love their money.
It really is simple, professionally handle the clients objectives and continue to interest them in both you and your work.

If the idea of selling is abhorrent to you, you either have to call it quits to your dream of being a successful fine artist, or you have to find someone who can and will sell for you.
Rule #7. Learn to Harness the Power of the Internet.

Take a look at ebay, type in 'original oil painting' into its search field. You will see hundreds of paintings from artists selling their work online.

Type in 'fine artists' into any search engine and you will find professional websites featuring professional artists.

There are a few websites that even act as an online art gallery and will display and sell your work online for you for a cut of the sale.

The internet really is a great way to show off your work, sell your art, create brand recognition for you as an artist, and to communicate your work to a large audience.

Rule #8: You Will Not Get Weird About Art and Money.

I know some of you cringe when it comes to selling your art for money, or that some of these tips might sound a little too business like, with words like brand recognition, professional, selling and marketing.

Like it or not, if someone exchanges money for your art you have entered into the field of business.
When you come to this fork in your career as an artist you can take one of two paths.

Path one, never sell your art for money, continue to work at your day job and keep art as a hobby. Perfectly acceptable. Many people do this across the world and lead happy lives.

Path two, realize that your art is providing someone with a product that they will adore for years to come, You created something original. Nothing in this world is it's exact duplicate.

For this you will receive money in exchange. This will help you concentrate on creating more works of art as you may have to work less hours at a 'real' job. Maybe you will get to the point of not having to work that 'real' job at all!

Michelangelo was commissioned by the Vatican to do his work in the Sistine Chapel. He was paid quite handsomely for it.

He was also commissioned by Florence to create the statue of David.
Artists can create wonderful enduring works and should rightfully be exchanged properly with.
Well there you have them, 8 rules you need to live by to become a professional visual artist.
I sincerely hope that they help and I wish you the best of luck in how ever you decide to pursue the field of art.

Eric Hines has had the pleasure of working professionally in the art industry with fellow artists for the majority of his working life as an artist, art dealer, musician, and currently as an executive at Mission Renaissance. Mission Renaissance teaches art lessons to over 5,000 art students every single week. They teach both children and adults how to draw and paint

Article Source: http://EzineArticles.com/1259561

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10 Tips For Self-Promoting Your Art

As any salesperson knows, in order to make a sell, you have to overcome the difficult task of self-promotion. For an artist, you have poured your heart and soul into your art, and now you are being asked to go out and market it. In doing so, there is a natural fear of personal rejection. Nonetheless, in order for your art to reach people that truly "see" you, overcoming this obstacle is mandatory.

Fortunately today many of the best ways for self-promotion are not quite as direct and confrontational. Here are 10 important ways to self-promote your art to achieve a successful audience:

1. Create a website. While a portfolio of your work is also mandatory, having a website reaches an immeasurable number of art enthusiasts. Take the time to design a professional site with good presentation of your work.

2. Blog, Blog, Blog. Blogging is an excellent way to create a buzz about your work and to let people know what your art is about. You can create your own blog page (recommended) where you highlight your work while also educating your reader. This serves as a "channel" through which other bloggers can be directed to your website. Additionally, you can post to other art blogs for the same reasons.

3. Art Newsletters. Many sites exist (such as Constant Contact) which allow easy creation and submission of your own personal newsletter by email. This is a great promotional tool that shows your art enthusiasm as well as your art work to those with whom you have all levels of contact. Be sure to mention your website and blog in each newsletter.

4. Sphere of Influence. This refers to your personal network of artists, art promoters, gallery owners, art committees, etc. Be sure to make contact with these individuals often so they are aware of your current artistic endeavors. They key word here is networking. The power of networking is tremendously underestimated. Likewise, your email list should be treated like gold. Build it and protect it.

5. Attend Art Events Regularly. At times, this may seem a chore when all you want to do is hibernate inside with your art. However, in the giving is receiving. By supporting other artists and frequenting art events, you continue to network within the art community and stay abreast of current trends and happenings.

6. Submit Often. If you create beautiful and meaningful art but it is rarely shown, the chances of elevating your career as an artist is going to be limited. Choose events and shows that are in line with the theme of your art. This will increase your chances for acceptance, present your art to the right forum, and allow you to be true to your art.

7. Create a Quality Portfolio. Whether it is a gallery owner or an interested client, no one wants to see an unprofessional display of your work. Take your art career seriously and pay a professional to create a good portfolio of your art. This is a must.

8. Provide Art Education. One of the most infrequently used tools in self-promotion is providing education. This establishes you as an expert in your field of art, and you expand your sphere of influence even farther. Write articles and post on the web, teach at local art centers, provide video clips on "how-to" projects, etc. Again, each time be sure to announce your website and blog.

9. Always Carry Business Cards. Design your own business cards that are congruent with your art. Be sure to have your contact information, website, and blog info readily seen. And don't be caught with empty pockets!

10. Make Formal Affiliations with other Art Sites. By linking your website to other art sites through formal affiliations, you can generate a significant amount of traffic to your website. Many forums, companies and organizations will be happy to provide a link to your site in exchange for a link to theirs. It never hurts to make an inquiry, and it offers another chance to expand your sphere of influence.

So there you have it. Now, take a deep breath, grow some thicker skin, and self-promote. Don't let your art suffer because you failed to acknowledge the art of self-promotion.

Kelly Stevens is director of NUDE NITE, the largest NUDE art event in the Southeast. NUDE NITE is an annual multi-media event celebrating the art of the nude. In its 11th year, the 3-nite event plays host to hundreds of the best nude artworks in the country attracting over 3000 people each year. Top performers and live painting exhibitions and installations enhance the event making it an art experience not to be missed. Visit http://www.nudeniteorlando.com, THE resource for NUDE ART.

Article Source: http://EzineArticles.com/1186843

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AND I'm an Artist: Art as a Hobby

The dictionary definition of hobby is: "A pursuit outside one's regular occupation engaged in especially for relaxation." (Merriam-Webster)

The word hobby evokes an image of something you love to do, something you ache for when you're sitting as your desk looking out at the window at a sunny day, something you never seem to have quite enough time for.

So why is it that some people call art a hobby, and some people don't?
And do the ones who are doing art as a hobby have more freedom, relaxation and fun? While the rest of us "serious artists" only run into creative roadblocks once we step off the hobby train and put on the "artist" hat?

I began thinking about art as a hobby when I heard about Downtown Jam, a Toronto club made up of three studio rooms where amateur musicians can sign-up for a night of jamming.
No audience, no performance, simply playing for fun.

I asked Andrew Hall, the owner of Downtown Jam, the differences he sees between a "jammer" and a professional musician. He says a "jammer" doesn't make his or her living from their music. They have another job, and come to Downtown Jam as a way to unwind and de-stress at the end of their workday.

So I started thinking some more about the difference between being an artist and having art as a hobby. First I wondered why someone would want to have art as a hobby, and I came up with three main reasons.
1. Freedom.
2. Relaxation.
3. Fun.

As I looked closer at each of these reasons, I found that each of them are the tip of a very big iceberg of emotional, mental and creative considerations in what was turning out to be a very complex topic!!

Freedom
Art as a hobby means freedom from the creative constraints that might be involved once you claim it as a business, way of life or part of your identity.

Additionally, a hobby involves more personal choice and expression of the artist's personal creative preferences.

This is as opposed to using creativity in a more commercial setting, to fulfill a commission as part of a job or in a therapeutic setting where clinical considerations come before personal creative fulfillment.

Darlene, a full-time artist, wrote in an email, "I now work in a full time job doing art, though it is not my style or passion, I still do enjoy it.....others think of me as a professional artist.....I just don't feel that way at this time".
Art as a hobby doesn't just involve a sense of "freedom FROM", it also involves a sense of "freedom TO".

When it's not something we feel we "have to" start, work on or complete, don't we approach a creative project with more zest? When we're involved in a hobby, isn't it more about the "doing" than about the finishing?

The downside to this freedom is that there's no pressure to perform, to get better, to challenge ourselves or to grow. And it becomes too easy to "hide our light under a bushel" and keep our creative gifts to ourselves instead of sharing them with the world.

Another down side of this approach to art is that hobbies are usually the first thing to go when we get busy.

And doesn't freedom contradict what we know to be true about creativity? We're not free to do it; we're COMPELLED to do it. It's not really a choice.

Like Elaine wrote in the Everyday Artist blog, " Art is my life. It's my identity, it's the way I'm put together on the inside...... sooner or later I have to do something creative....."

Relaxation
The very definition of hobby at the beginning of this article speaks of relaxation as the purpose.
While the process of pursuing our creative expression CAN be relaxing and peaceful when we're in the creative flow, BEING an artist can be a source of stress. Roadblocks to creativity impact our mental, physical and emotional well-being, as well as our relationships with others.
A.V. writes that art isn't something he DOES, to relax or for any other reason, it's something he IS.
"It is not possible to have anything creative as a hobby. Even what may be considered as a passive activity like listening to music becomes meaningful only when you sink your whole being into it...For a properly integrated person there can be no hobbies; only other dimensions of the person."

Fun
Art as a hobby calls for a sense of FUN and lack of "serious" or "hard" work.
But when we're in it for fun, it implies that we don't take ourselves seriously as artists. And this rubs some artists the wrong way.

As Steve writes, "...if I consider art as just a hobby, I feel I am doing myself an injustice and neglecting something that I love so much."

This impacts your interactions and relationships with:
* The government, as there may be financial repercussions for not declaring your creative work
* Other artists, how you're perceived by them and the support you can give and receive
* Your family and friends, and how respectful they are of your creative time
* The general public, your customers and prospective customers
* Yourself!

And also, when we tell ourselves our art is just for fun, there's no impetus to put in the time and effort to move past our current level of skill and achieve mastery.

This isn't always true, of course. Andrew Hall tells me that his "jammers" sometimes set a goal of learning how to play all 500+ songs in the Downtown Jam songbook. And that definitely takes work! But he also says, "the typical 'jammer' does not or should not take her/his musical skills too seriously."

Doug writes, "Keeping art as a hobby is not only good sense, it's good for you. For years, even when I wasn't sure of my "artistic connection" I continued to make collages and each time I would enter that creative "flow" know for sure that whether it's a hobby, a calling, or a professional or all -- art is not only necessary, it's bliss in pure form."

Andrew Hall discussed the rewards that his regular "jammers" enjoy. "This is a health club" and a much-needed outlet for releasing stress. The club provides a chance to meet wonderful people who are all there for the same reasons, and "you can count on having fun here". Andrew strives (and succeeds) to make the club as welcoming and fun as possible.

In my own experience of using music as a hobby, I have to say that I had a FANTASTIC time at Downtown Jam.

I'm already blessed to be able to use my creativity in many forms in my work life - my music therapy calls on my musical, interpersonal, therapeutic and clinical skills, my freelance writing calls on my organizational, creative problem-solving, coaching, collaborative and writing skills, and my article writing and product creation for artists allows me to draw on and combine all of the above.

And just as other folks who seek out art as a fun and relaxing diversion, free of any external constraints, expectations or demands, I often long for a creative outlet that doesn't have a product, performance or any specific outcome in mind, but that's just fun for me in the moment.

And that's what I found at Downtown Jam.

As long as I'm pursuing my work in a meaningful way and sharing my gifts with the world, there's nothing wrong with seeking out a creative setting that's JUST FOR ME.

So as long as I'm not hiding out in my hobby, then branching out to explore my creativity in a way that's purely for freedom, relaxation and fun, is a wonderful way to recharge, refresh and reward myself for my creative work during the rest of the week.

If you see art as a hobby, or if you're behaving as if it is, what could be different for you if you took it to the next level and claimed is as part of your identity or as a profession?
And if the serious business of your art-making is constantly fraught with roadblocks and stress, keeping you from enjoying your art in a passionate way, what could be different for you if you found a way to use your art (or maybe a related art form) as a hobby?

© Linda Dessau, 2006.

Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. Feel like your creativity is blocked? Sign-up for your complimentary copy of the popular e-course, "Roadblocks to Creativity" by visiting http://www.genuinecoaching.com

Article Source: http://EzineArticles.com/187257

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