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quite a few peers of mine, do occasionally send stroppy emails (by their own admission), get into arguments with curators and are generally quite combative - to get their work into places/collected ect

I always believed that this wouldn't work as a strategy long term and have tried to be kind and courteous to people. But I haven't really seen any consequences for those people.

Why does having hissy fits work in the art world ?

I'm self-taught and have been developing a practice pretty rigorously for the past year. I'm at the point where I'm beginning to submit work and apply for residencies/fellowships but I'm really struggling with my artist's statement and how to 'label' my practice. I have a body of cyanotype works, which are all based off of 35mm and iphone images I've taken over the last ~20 years, which I print on tissue paper and layer/collage. I also have a series of works based off of images I composed entirely on my photocopier. A book and two large scale canvases where I blow up an image and transfer it using acrylic medium. These are the two veins I've kind of come to on my own and anticipate I'll continue working in, I just really have no idea how to categorize what I'm doing? Is it mixed-media? Alt processes? Printmaking-adjacent? Would greatly appreciate feedback, on this specific question but also on how to talk about the work more generally. I know very much what my interests/questions are and why I do what I do, but then translating that in a way that's compelling and connects to my material and aesthetic choices is a whole other thing I'm having a lot of difficulty with.

I'm currently working on a lesson for my students on the principles of Variety and Unity. I thought it would be interesting to have them pick a subject (cars, shoes, toys, etc.) and design a "display case" for a hypothetical collection.

Right now, I'm looking for related artwork that I could use for discussion. A couple good examples would be Mark Dion's "The Phantom Museum", Lenka Clayton's "63 things taken from my son's mouth", or even several of Wayne Thiebaud's paintings. The artworks can be historical or contemproary, and if anybody here has any suggestions it would be very helpful.

thanks!

Heya.

I have a bunch of sales on Artful Home that haven't been paid within their +30 agreement.

They're telling us all the payments are coming "eventually", just wondering if anyone has gotten a payment lately and how late it was? I have a few that are +80 days and it's not a small amount.

Thanks. Keep making art!

Does anyone have examples of social media that they like done by contemporary artists (or about contemporary artists)? Thinking of Olafur Eliasson, maybe Marina Abramović, artists who are maintaining an image and practice rather than doing direct sales, but smaller or more avant garde artists who might need the sales (ha) are also welcome.

Would be interested in galleries/museums as well if you have any that you find particularly interesting.

Hi,

I have graduated with a degree in Cultural History and Philosophy, holding a bachelor's degree in the humanities. However, I have been passionate about drawing since my school days. I create various types of artwork and have accumulated a substantial portfolio over time. I mainly work with gel pens and acrylic paints.

I am writing because I have been struggling for a long time to get an internship at an art gallery. I have submitted an application for a scholarship/grant, but I have not received a response yet. Nevertheless, I would really like to pursue the next stage of my career in an art gallery. I would love to help organize exhibitions, communicate with visitors, and collaborate with artists and curators while setting up displays, but since I have no experience in this field no one want to hire me. I could work for free just to gain experience.

Could you please share some advice how to get in? I know networking is one of many ways but it did not really worked for me since I dont know anyone and by approching Them at an art event they mostly say that they already have people for the job I want/can do.

Recently I've noticed that digital art is sometimes treated differently from the traditional art forms.

I saw an article about digital art and I was honestly frustrated to read that some people consider digital art as less valuable, because "it is easier to create it". No it is not, I believe that creating digital art can require just as much creativity, technical skill, and artistic vision.

Do you think digital art is finally getting the recognition it deserves, or is there still a gap in how people perceive it?

One of my digital art prints is going up for sale at a show. It's my first time selling a framed print. The gallery requires the back of the work to be labeled with artist & artwork info. I'm not sure what the best practice is. Is pencil handwriting considered unprofessional? Do I need to get my info printed on those label stickers? What are some alternatives?

Would love your advice, and thank you for helping out a self-taught artist :)

I'm not asking about people who make a fortune in a single, radical way, but I'm talking to people who do various things in the art world and that's what makes them make a living… What do you do? What brings the most return and what brings the least? Where are you located? Are you very close to galleries or do you have ways of making money from art that are independent of them?

I just saw Tracey Emin's giant bronze sculptures getting installed right in front of the eiffel tower. Honestly I am a big fan of Emin's work. I have been both her Tate and Whitecube show and taught it was amazing.

But something about this doesn't work for me. Visually none of the forms make sense to my eye. But other than visually, what does the eiffel tower do for Emin's work? What relevance does she even have to Paris? I just conceptually think it lacks depth.

Like why did White Cube spent thousand for this? She is known enough I think, a eiffel tower display, especially when it does nothing for the work and has no conceptual depth. Did they really spent the budget on this?

I also think at this point Turbine Hall would be a better pick for the pieces.

But maybe this is just me and it looks amazing. I'm not sure.

https://www.instagram.com/p/DedvjN6DgFg/?obrf=YzdkYnQ4cnY3MzZo

Hiya! Title is pretty self-explanatory. I’ve been working in the art world for about a decade, primarily at a gallery, and I’m starting to feel like it’s time to branch out on my own.

I feel like I have a pretty solid grasp of the industry and what it takes to run a gallery, but I’d love to hear from people who have actually taken the leap.
The upfront costs are definitely intimidating (New York), and while I’m excited about the idea, it’s also pretty scary!

Would love to hear any advice, lessons learned, things you wish you’d known before starting, or just general stories from your own experiences. All perspectives welcome!

I have 5+ years of experience at this point and I feel like there are zero jobs. For the gallery world, it feels like you are either an assistant, you’re extremely lucky to have some sort of Associate Director role, or you’re a Partner.

Hi everyone!
After spending quite a bit of time looking at artists’ portfolios from both a curatorial and art-management perspective, I’ve noticed a few things that are easy to overlook but can make a real difference.

These are some of the points I often discuss with artists I work with.

…hmmmm)) None of this is rocket science, but a few small things can make a surprising difference.

a) Selection of work. You don’t need to show everything. Choose work that gives a clear sense of your practice.

b) Structure. Group works into series or projects where it makes sense. Their order should help the viewer understand the connections between them.

c) Captions. Include the title, year, dimensions and materials for each work.

d) Artist statement. Keep it clear and specific. Explain the questions you explore and what connects the work, without making the text more complicated than it needs to be.

e) CV. List exhibitions and other professional activities in reverse chronological order, with the most recent first.

f) Images and documentation. Use good-quality images, compress them with Squash, and add descriptive alt text.
Make sure the information accompanying each work is accurate.

g) Search visibility. A well-structured website can also help search engines and AI tools interpret an artist’s practice more accurately. Curators increasingly use these tools to research artists for specific projects. Clear descriptions, meaningful page titles and useful image metadata can make your work easier to discover.

None of this requires an expensive website or elaborate design. What matters most is how the work is selected, contextualised and presented.

I approach this as both an artist and a curator, and I see supporting the visibility of independent artists as an important part of my work.

If you have questions about presenting your practice online, I’ll be happy to share my perspective.

Hi, don't know if this is the best place to ask. I don't really know what to do at the moment. In the past I've been interested in going after my MFA and dedicating myself to create and push myself. But since finishing undergrad a few years ago and having my first MFA application denied. The struggles to find a job I just haven't had a big desire to dedicate many hours to make something. Just sketches here and there. But a degree in art direction caught my eye. Working on creative projects, helping create an overall look and feel seemed interesting.

If any of you are art directors or currently have or are earning your MFA id like to know your experience. I'm looking to learn more about what I may get myself into.

think phillips, sothebys. all i see about this, is that it's bad but people don't really further elaborate on why. i know it's probably intense but a lot of these prestige places are pressure cookers for that. would like to know what it's really like work there.

Thoughts on Bonhams opening a new flagship venue for their American market? Has anyone been to the space? Do you think it will disrupt the current Christie’s/Sotheby’s/Phillip’s foothold in NYC?

What do you all think about this? Which medium, like music, painting, dance, cinema, theatre, etc is getting all the hype, and which one deserves way more respect? (Sorry, for example, I said some, but I know more countries have unique and different art forms. I wanted to explore more so the community can learn new things.

Has an anyone attended or plan on attending Cady Noland’s newest show at Gagosian in London? Would love to hear any details you have about the work!

I'm trying to figure out what people actually do when it comes to insuring their collections (art mainly) and I'd really appreciate some advice!

If you've bought a few pieces over the years, do you insure them separately or just rely on your home contents insurance?

I'm particularly interested in people with smaller collections, where individual pieces might be worth anywhere from a few hundred to a few thousand pounds, rather than really high-end collections.

I've got a few questions:

• Do you insure your art, and if so, who with?
• Is it covered under your home insurance or a separate policy?
• If you don't insure it, is there a particular reason?
• Has anyone had experience making a claim?

I'm finding it surprisingly difficult to understand what people normally do, so any experiences or advice would be massively appreciated!

Thanks!

I'm going to a huge art fair next week, in a work capacity. In past years, I've sometimes struggled to deal with the unpleasantness of it all, especially working with people in my own team who tend to jump at the opportunity to moan and be extra difficult with everything- dealing with deadlines, having to accommodate less than ideal work conditions, and having their innumerable demands declined. I've been scolded for not running around with hot tea at a moment's notice, asking someone to rewrite an appallingly bad bit of text about an artwork, and other petty vendettas that demonic curators with huge egos love to wage around this time of year.

However, due to raging depression, no help from my manager who is too busy bending over backwards, and a hatred for my job (I am trying to get out best I can), I need advice for how people cope with a horrible art world moment which always promises to haunt my nightmares. I wish I could just wear my headphones and play the sound of crashing waves, but alas, this just won't be possible. How do you deal? What do you do to care for yourself? Are there any writers you recommend to read who will soothe my torn up psyche when it is all over?

Update: thanks for all the lovely responses and encouragements :) wishing all of you a good fair week!

Looking for some pointers towards artists that go out of their way to use environmentally friendly materials in their work. Ideally a range of mediums -- sculpture, painting, fiber arts, etc. I see lots of artists creating work that makes statements about the environment which is great (and that's what's easiest to find on Google), but I can't seem to find as many injecting that philosophy into their art making process overtly, which is what I'm looking for. Thanks!

I can’t tell if I’m just misremembering but didn’t Marc Straus combine with swivel? I checked their website recently for an artist they absorbed and couldn’t find him. That’s when I noticed there is no mention of affiliation. I expected to see them together at untitled Houston but it seemed like it was just Marc Straus gallery

Has anyone else gotten an email from this org? I received an email inviting me to a show in Barcelona but the email was very weird and felt like it was written by a bot. But it seems like they actually put on shows. Also comments are turned off on their instagram which is very suss to me.