Another intriguing post Debra. Thanks. I haven't found the sweet spot yet. Happy with my artwork but struggle with getting new followers on social. All the enquiries I get seem to be from scammers who have no about info, few posts or friends. I keep painting regardless because I love doing it so much. I hope that passion shows through in my work.
Yep, yep and yep. It's far more important for me to achieve my original goal: to figure out HOW did the artists who have come before me DO that? But in the intervening years, I've created stacks of paintings that few people (who are not my very supportive friends & family) see. Not even through my wonderful FASO website, for which I will be forever grateful -- but more on that in a minute. (*)
Not that you'll be able to answer this, but this is my dilemma: What does one do when one lives and works and paints in a European UNESCO city, *dripping* with culture and history -- and with proprietary galleries that are devoted to either historic art works, i.e., museums, or 20th C artists, or are small, very private galleries devoted solely to one local artist/owner's work?
Not very conducive to want to get out there and introduce myself and my work. And no, hobbyist clubs and orgs don't exist here like they do in the States. And no, I don't have the money to open my own gallery! ;-)
I've had one chance in 15 years to share a fellow artist's exhibition in one of the local hospitals (which he finagled because he's a native who knows VIPs) -- but when he saw that my work was "better" (his term for more accurately drafted and impressionistic), he got cold feet and I've never heard from him since. Like we suddenly became competitors and he found himself wanting. Unnecessarily so, but we've never been able to discuss it since.
All this to say, some of us not only don't know quite where/how to put ourselves out there, some of us feel rather smothered by our local circumstances. Trapped in backwaters with zero artistic opportunities or in places and other cultures where there's so much established art, it's a mystery as to how to be seen and taken seriously.
Long story short, I'm building my skills (I hope!) and portfolio, so I'm ready for my move back to the States and a cute lil artsy town, where I already have a house at least. XOXOXOXO
(*) Regarding FASO: I'm disconcerted by the many adverts in FASO newsletters advocating we switch(?) or create another site with ANOTHER website company (Squarespace, was it?) I really wish FASO would clarify that. Perhaps they did at some point early on, but I have enough trouble keeping my FASO site updated and I thought you prided yourselves on helping us with our marketing? So why tout a different company's talents in those things? Just thought I'd get that off my chest.
I don't know if your circumstances would allow this, but I did actually write a few of these articles in years past, about what I did Beth, when I was trying to get more eyeballs on my art but I had not yet mastered my painting to the point where I was profitable with awards, sales, talks, teaching, etc. What I did was 1. joined a co op gallery to learn what it was like on the selling side of the business. 2. Started a few small groups with 3 to 5 people and we together organized traveling exhibitions at museums and art centers around the world. Literally... I was the main person to approach the venues and I did it the old fashioned way. I googled to find places that were hosting group shows and then I picked up the telephone and called them to see what I needed to do to get a group show at their facility. That opened lots of doors for us all that led to commissions, teaching, art talks for societies, group shows at bigger venues, and even gallery representation. Just a thought!
Sounds brilliant, Debra! Yeah, the cultural differences and approaches to artistic (re)presentation are "interesting", shall we say. The U.S. is once again the forerunner of free-wheeling "Hey, let's get together and give it a shot." Over here in Austria they seem much more hesitant and competitive, and the spaces are limited.
I have some friends who are semi-professional and hobby artists here and when I ask them if they're working on anything, they usually smile guiltily and say, "Nahh, because because because..." (We all know that drill, right?) :-)
But you've given me a couple of ideas -- social media groups must (?) exist here in town, for I have indeed been to group exhibitions, though that was long before COVID.
Debra, you are right on!!!!! I agree with all you’ve written. I do think you can’t create in a bubble. You have to circulate in the art community, help grow and sustain that community. Importantly growing your skill is so necessary by out doing yourself year after year. Passion in your work is contagious and also having a good story to tell. Do what you do, making what you do look easy even if it is not.
Another intriguing post Debra. Thanks. I haven't found the sweet spot yet. Happy with my artwork but struggle with getting new followers on social. All the enquiries I get seem to be from scammers who have no about info, few posts or friends. I keep painting regardless because I love doing it so much. I hope that passion shows through in my work.
Yes it’s tricky isn’t it? I think as soon as I find my sweet spot, it moves again.
Yep, yep and yep. It's far more important for me to achieve my original goal: to figure out HOW did the artists who have come before me DO that? But in the intervening years, I've created stacks of paintings that few people (who are not my very supportive friends & family) see. Not even through my wonderful FASO website, for which I will be forever grateful -- but more on that in a minute. (*)
Not that you'll be able to answer this, but this is my dilemma: What does one do when one lives and works and paints in a European UNESCO city, *dripping* with culture and history -- and with proprietary galleries that are devoted to either historic art works, i.e., museums, or 20th C artists, or are small, very private galleries devoted solely to one local artist/owner's work?
Not very conducive to want to get out there and introduce myself and my work. And no, hobbyist clubs and orgs don't exist here like they do in the States. And no, I don't have the money to open my own gallery! ;-)
I've had one chance in 15 years to share a fellow artist's exhibition in one of the local hospitals (which he finagled because he's a native who knows VIPs) -- but when he saw that my work was "better" (his term for more accurately drafted and impressionistic), he got cold feet and I've never heard from him since. Like we suddenly became competitors and he found himself wanting. Unnecessarily so, but we've never been able to discuss it since.
All this to say, some of us not only don't know quite where/how to put ourselves out there, some of us feel rather smothered by our local circumstances. Trapped in backwaters with zero artistic opportunities or in places and other cultures where there's so much established art, it's a mystery as to how to be seen and taken seriously.
Long story short, I'm building my skills (I hope!) and portfolio, so I'm ready for my move back to the States and a cute lil artsy town, where I already have a house at least. XOXOXOXO
(*) Regarding FASO: I'm disconcerted by the many adverts in FASO newsletters advocating we switch(?) or create another site with ANOTHER website company (Squarespace, was it?) I really wish FASO would clarify that. Perhaps they did at some point early on, but I have enough trouble keeping my FASO site updated and I thought you prided yourselves on helping us with our marketing? So why tout a different company's talents in those things? Just thought I'd get that off my chest.
I don't know if your circumstances would allow this, but I did actually write a few of these articles in years past, about what I did Beth, when I was trying to get more eyeballs on my art but I had not yet mastered my painting to the point where I was profitable with awards, sales, talks, teaching, etc. What I did was 1. joined a co op gallery to learn what it was like on the selling side of the business. 2. Started a few small groups with 3 to 5 people and we together organized traveling exhibitions at museums and art centers around the world. Literally... I was the main person to approach the venues and I did it the old fashioned way. I googled to find places that were hosting group shows and then I picked up the telephone and called them to see what I needed to do to get a group show at their facility. That opened lots of doors for us all that led to commissions, teaching, art talks for societies, group shows at bigger venues, and even gallery representation. Just a thought!
Sounds brilliant, Debra! Yeah, the cultural differences and approaches to artistic (re)presentation are "interesting", shall we say. The U.S. is once again the forerunner of free-wheeling "Hey, let's get together and give it a shot." Over here in Austria they seem much more hesitant and competitive, and the spaces are limited.
I have some friends who are semi-professional and hobby artists here and when I ask them if they're working on anything, they usually smile guiltily and say, "Nahh, because because because..." (We all know that drill, right?) :-)
But you've given me a couple of ideas -- social media groups must (?) exist here in town, for I have indeed been to group exhibitions, though that was long before COVID.
Thanks for your many efforts and All the best, bj
Well all the best!
Debra, you are right on!!!!! I agree with all you’ve written. I do think you can’t create in a bubble. You have to circulate in the art community, help grow and sustain that community. Importantly growing your skill is so necessary by out doing yourself year after year. Passion in your work is contagious and also having a good story to tell. Do what you do, making what you do look easy even if it is not.
Yes! I love how you think Rita! Thanks for commenting.
Oh gosh, thanks for letting me know I am still human!
lol!!! I love your comment. I think we all relate