Recently I have been talking to other artist that have been re-inventing themselves and trying to create according to the current markets. Sometimes if you can think of a project that still stays true to your beliefs and along the same genre that you feel comfortable with this is good, it is thinking outside the box. What I hear a little though is doubt...DOUBT, and that is sad. I know that all artist find a bad economy a challenge but it should not pick at your creative side and chastise it to the point that your internal voice tells you to give it up and try something just to make money. What it should do is open a door you have not peered into yet and let you see some opportunity that you could not fancy
When people are not investing in art they are often either buying personal gifts for a special person or even corporations are looking into utilizing the 1% For Art Program that quite often builds up in some locations and is threatened by the need in other areas therefore the tendency of a city to steal from that fund. A bad economy just means that you need to research deeper and into those dark corners that you might not have ever considered before.
Quite often when I am stuck I go down and work in the studio for at least two hours even if it is just pinching up clay and warming it or cleaning off work space...what I find is that the environment that allows me to get my juices going again will kick in and get me excited again.
Friday, January 14, 2011
Monday, January 3, 2011
2011
Hopefully if you are a patron, you are gearing up for the New Year and thinking just what types of galleries you will be enjoying this year on trips to wherever and just what type of art you are looking for to add to your collection. Often people collect in the same genre and other times they collect randomly according to their passions and "just happen to see". However you dedicate yourself to the arts, we as artist appreciate the fact that you are helping us to complete a dream and to continue creating. So whether you search for bronzes, watercolors, pastels or pencil please keep supporting the artist and their endeavor to put an emotion into a visual just for patrons such as you.
If you are an artist, this will be your year to tackle that project you have been putting off, this will be your year to branch out into another medium, this will be your year to smile inside yourself knowing that you are creating. If you have been in a funk because of the economy, this will be the year to pick yourself back up and know that good art is always desired and strive to become the best of whatever medium it is you choose to create in and thrive. If you just plain need a kick in the butt, let me know and I will send you some words of encouragement, it is good for artist to support artist, who else understand our emotional state better than ourselves.
For myself, I am currently working on a stone piece and a commission of a beloved pet for a woman so she will always have her pet in bronze as a memory. I am first obligated to begin with a clean studio and to get it organized for this new years projects. I am also finishing up a project I had already started in 2010 of a horse and it is near completion. Happy New Year to Everyone and here are a few pictures of coming up work that I will be posting on....if anyone ever wants to view more of my work, just log onto fineartamerica.com and pull up my name Peggy Campbell.
If you are an artist, this will be your year to tackle that project you have been putting off, this will be your year to branch out into another medium, this will be your year to smile inside yourself knowing that you are creating. If you have been in a funk because of the economy, this will be the year to pick yourself back up and know that good art is always desired and strive to become the best of whatever medium it is you choose to create in and thrive. If you just plain need a kick in the butt, let me know and I will send you some words of encouragement, it is good for artist to support artist, who else understand our emotional state better than ourselves.
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| Elusive Legend |
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| Tranquil Moment |
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| Wiley Coyote |
Friday, December 17, 2010
Visions with downsides
Not very often do you run into someone that is working on the very same idea you are and you catch it in time to change your creation...often it is not caught until you exhibit in the same show and by then there is nothing that you can do about it. Also some animal posture is so common that you will run into the same positioning of an animal quite often.
I remember I had a favorite piece that was in miniature that I had had great luck with and I had decided to point it up or enlarge it so that it could be used in an outside area. That same week I happened to be at the foundry and looked over and there it was exactly same position and done by someone a lot more popular than me in the outside enlarged work, so there you go....a burned idea!
When it is maddening is when you hear from someone that someone has created a piece that is exactly like yours and your piece was so off the wall and far fetched that you wonder how in the world someone could have possibly had that exact idea in the exact same position of something that was not a common creature to do in the first place. Go figure!
This is a good place to put in the idea that if you are online in any site at all, you take the chance of someone copying your work, whether it be in Loveland, Colorado or China. Hopefully you will just have to keep your following of patrons and run faster (or keep beating the side of your truck and keeping the chickens in the air, thanks Jack).
I remember I had a favorite piece that was in miniature that I had had great luck with and I had decided to point it up or enlarge it so that it could be used in an outside area. That same week I happened to be at the foundry and looked over and there it was exactly same position and done by someone a lot more popular than me in the outside enlarged work, so there you go....a burned idea!
When it is maddening is when you hear from someone that someone has created a piece that is exactly like yours and your piece was so off the wall and far fetched that you wonder how in the world someone could have possibly had that exact idea in the exact same position of something that was not a common creature to do in the first place. Go figure!
This is a good place to put in the idea that if you are online in any site at all, you take the chance of someone copying your work, whether it be in Loveland, Colorado or China. Hopefully you will just have to keep your following of patrons and run faster (or keep beating the side of your truck and keeping the chickens in the air, thanks Jack).
Tuesday, November 30, 2010
Marketing
I have hit on all the facets of creating but not touched yet on another important issue that often is difficult for creative people and that is marketing your work.
In the beginning I joined the local art association, helped with two shows a year and began showing locally. At this point all artist should have business cards, one side a photo of your best work and the other contact information. You will also need an artist statement, biography and mission statement (this last is for your benefit, everyone has to have goals and something to progress towards.)
The demands of a show throw you into keeping a calendar of deadlines for entries, dates of delivery and receptions. One of the things you have to do is keep track of exactly which works you entered where and not to double enter during the same or overlapping time slot. You always want to stay honest and realize shows only accept so many artist and if you are accepted then have to pull out because of double booking yourself it hurts the organization and adds to their work. (Besides the fact that they will not trust you ever again to enter their show). Fees vary from 10.00 to 35.00 to enter regardless of whether you are chosen or not.
A show entry usually requires, besides the fee, pictures of your work either photos, slides or cd and a stamped self addressed envelope (this will contain your returned slides etc and your acceptance or denial). Now days though much is done online so you may get an email also. Some shows require your bio, statement etc. and some do not. Always read the rules for each show and abide by them, some do not take certain mediums and others weight or size.
Later I began to get a larger body of work and developed a circle around how far I was willing to drive and haul work, taking into consideration gas and motel expenses. Hauling could almost be another book, there is such an issue on how to haul carefully, not to injure work before it is even viewed.
Note: This is a good place to add that you need to keep good records and large envelope comes in handy for keeping travel expenses, meals, parking, motels and mileage.
When you are accepted you will usually have a delivery date and an opening night reception for the show. Don't every fail to go and take a pocket full of business cards. Be brave and verbal about your work, show your knowledge and also your pride. Most patrons really want to get involved with your piece that way they feel a connection. Listen for their connection. Be attentive to their input not just your ego.
You may also have the opportunity to show in a tent situation and it can either make you provide your own 10 x 10 or supply one large tent with space.
Note: This is a good place to put how you should be in your booth (which is usually 10 x 10 area.) I have seen everything imaginable - artist sitting outside the tent reading a book, artist talking with their mouth full and empty booth's with no live body at all.
The best experience I have had with responses from patrons is to be attentive, knowledgeable and polite. I have a studio chair that puts me up high on the same level with the person speaking to me. I ask them questions, they do the same and we find a common ground. I love people so I could talk to a knot on a log. I always feel after a show I have gained a wealth of friendships and given them a memory as well to carry home with them.
There are great shows and poorly prepared shows, I have even had work damaged because of mishandling. Always ask what kind of set up they have, grid space, wall space or if you are a sculptor inquire as to pedestals. I have gone to receptions and found art on the floor or leaning against wall. I have also hauled a trailer loaded with pedestals because they had none.
I have reduced down now where I just have a few shows a year. My largest (just sculpture) show is Loveland Sculpture Invitational, the second weekend in Loveland, Colorado. I love this show because it lets me interact for three days with not only people but people that enjoy sculpture.
One last thing is I try to give back in some way. Rocky Mountain Public Broadcasting Station, Denver Audubon, Raptor Centers, Cancer Society, these groups can all benefit in some way to your participation or donation of a piece of work.
In the beginning I joined the local art association, helped with two shows a year and began showing locally. At this point all artist should have business cards, one side a photo of your best work and the other contact information. You will also need an artist statement, biography and mission statement (this last is for your benefit, everyone has to have goals and something to progress towards.)
The demands of a show throw you into keeping a calendar of deadlines for entries, dates of delivery and receptions. One of the things you have to do is keep track of exactly which works you entered where and not to double enter during the same or overlapping time slot. You always want to stay honest and realize shows only accept so many artist and if you are accepted then have to pull out because of double booking yourself it hurts the organization and adds to their work. (Besides the fact that they will not trust you ever again to enter their show). Fees vary from 10.00 to 35.00 to enter regardless of whether you are chosen or not.
A show entry usually requires, besides the fee, pictures of your work either photos, slides or cd and a stamped self addressed envelope (this will contain your returned slides etc and your acceptance or denial). Now days though much is done online so you may get an email also. Some shows require your bio, statement etc. and some do not. Always read the rules for each show and abide by them, some do not take certain mediums and others weight or size.
Later I began to get a larger body of work and developed a circle around how far I was willing to drive and haul work, taking into consideration gas and motel expenses. Hauling could almost be another book, there is such an issue on how to haul carefully, not to injure work before it is even viewed.
Note: This is a good place to add that you need to keep good records and large envelope comes in handy for keeping travel expenses, meals, parking, motels and mileage.
When you are accepted you will usually have a delivery date and an opening night reception for the show. Don't every fail to go and take a pocket full of business cards. Be brave and verbal about your work, show your knowledge and also your pride. Most patrons really want to get involved with your piece that way they feel a connection. Listen for their connection. Be attentive to their input not just your ego.
You may also have the opportunity to show in a tent situation and it can either make you provide your own 10 x 10 or supply one large tent with space.
Note: This is a good place to put how you should be in your booth (which is usually 10 x 10 area.) I have seen everything imaginable - artist sitting outside the tent reading a book, artist talking with their mouth full and empty booth's with no live body at all.
The best experience I have had with responses from patrons is to be attentive, knowledgeable and polite. I have a studio chair that puts me up high on the same level with the person speaking to me. I ask them questions, they do the same and we find a common ground. I love people so I could talk to a knot on a log. I always feel after a show I have gained a wealth of friendships and given them a memory as well to carry home with them.
There are great shows and poorly prepared shows, I have even had work damaged because of mishandling. Always ask what kind of set up they have, grid space, wall space or if you are a sculptor inquire as to pedestals. I have gone to receptions and found art on the floor or leaning against wall. I have also hauled a trailer loaded with pedestals because they had none.
I have reduced down now where I just have a few shows a year. My largest (just sculpture) show is Loveland Sculpture Invitational, the second weekend in Loveland, Colorado. I love this show because it lets me interact for three days with not only people but people that enjoy sculpture.
One last thing is I try to give back in some way. Rocky Mountain Public Broadcasting Station, Denver Audubon, Raptor Centers, Cancer Society, these groups can all benefit in some way to your participation or donation of a piece of work.
Thursday, November 18, 2010
lifus interuptus
Sometimes things happen that completely interrupt all life, as of November 12, I have become a grandmother and it has been one of the greatest things to ever happen. Jameson Hawkins Lee is fantastic and healthy and has two of the greatest parents a child could possibly have.
But meanwhile please excuse my absence....life is great.
But meanwhile please excuse my absence....life is great.
Friday, October 29, 2010
Quotes
One of the special things I do for myself is post quotes around my work space that either inspire me or remind me of the person that gave it to me. By the way friends are the gifts you give yourself and friendships are like gardens they need to be worked tenderly and frequently.
The creative mind plays with the object it loves. Carl Jung
To live a creative life, we must lose our fear of being wrong. Joseph Chilton Pearce
Every problem is a possibility in disguise.
Fear of failure will absolutely destroy you. You walk down the middle of the street. You never take chances. You never go down the little side streets that you look at and say, "That looks interesting. But I don't know that street. I'll stay right here and just walk this straight line." Eugene Griessman
What you do speaks so loudly no one can really hear what you say.
Failure? I never encountered it. All I ever met were temporary setback. Dottie Walters
Experience is not what happens to a man. It is what a man does with what happens to him. Aldous Huxley.
Whether you think you can or think you can't, you're right Henry Ford
Obstacles are those frightful things you see when you take your eyes off your goal. Henry Ford
and my favorite!
He who works with his hands is a laborer. He who works with his hand and his head is a craftsman. He who works with his hands and his head and his heart is an artist. St. Francis of Assisi
It is not the critic who counts, not the man who points out how the strong man stumbles or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena...who errs and comes short again and again because there is no effort without error and shortcomings, who knows the great devotion, who spends himself in a worthy cause, who at best knows in the end the high achievement of triumph and who at worst, if he fails while daring greatly, knows his place shall never be with those timid and cold souls who know neither victory nor defeat. Theodore Roosevelt
Some of the things I hang on my walls are cartoons or pictures of inspiration of either human or animal origin. There are days when we all need to realize that we are not alone, need a chuckle or need to restore our faith. Good luck in decorating your space, make it personal, creative, funny, inspiring and even throw in an occasional funny shaped rock or beautiful wind/water created driftwood...let it be you. All work and no play.........
The creative mind plays with the object it loves. Carl Jung
To live a creative life, we must lose our fear of being wrong. Joseph Chilton Pearce
Every problem is a possibility in disguise.
Fear of failure will absolutely destroy you. You walk down the middle of the street. You never take chances. You never go down the little side streets that you look at and say, "That looks interesting. But I don't know that street. I'll stay right here and just walk this straight line." Eugene Griessman
What you do speaks so loudly no one can really hear what you say.
Failure? I never encountered it. All I ever met were temporary setback. Dottie Walters
Experience is not what happens to a man. It is what a man does with what happens to him. Aldous Huxley.
Whether you think you can or think you can't, you're right Henry Ford
Obstacles are those frightful things you see when you take your eyes off your goal. Henry Ford
and my favorite!
He who works with his hands is a laborer. He who works with his hand and his head is a craftsman. He who works with his hands and his head and his heart is an artist. St. Francis of Assisi
It is not the critic who counts, not the man who points out how the strong man stumbles or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena...who errs and comes short again and again because there is no effort without error and shortcomings, who knows the great devotion, who spends himself in a worthy cause, who at best knows in the end the high achievement of triumph and who at worst, if he fails while daring greatly, knows his place shall never be with those timid and cold souls who know neither victory nor defeat. Theodore Roosevelt
Some of the things I hang on my walls are cartoons or pictures of inspiration of either human or animal origin. There are days when we all need to realize that we are not alone, need a chuckle or need to restore our faith. Good luck in decorating your space, make it personal, creative, funny, inspiring and even throw in an occasional funny shaped rock or beautiful wind/water created driftwood...let it be you. All work and no play.........
Friday, October 22, 2010
Organizing your paperwork
It has taken me years of doing and undoing to get everything where I can lay hands on anything I need and I still find myself confused and digging.
I have found that in the beginning I was dealing with a lot less and it was so much easier. My original plan was to keep everything on index cards in a small file box. I had tabs that included each piece broken down in expenses, dimensions, problems, patrons and shipping. Then I had my tab for services I use full of business cards.
I quickly out grew the file box and began saving all information on disc (but I also printed out a paper copy for quick references). Therefore my file box became a standing five drawer metal file.
I also learned to deal with financial record keeping, what to save and what is needed to back up your business. Considering the number of years you must keep information it is often overwhelming if not organized.
My photography (both my research pictures and my body of work) began to get out of control. In the beginning I was required to send only slides as entries to shows or studios portfolios. Eventually everything went to digital and even sending your art work entries was done online.
Another lesson I am learning is that the stark white background with no shadows required by most juried shows years ago are not acceptable photography for online. So therefore begins another lesson in redoing all sculpture shots.
My personal suggestion to all beginning sculptors, take your own photos and get the equipment in the beginning that is necessary to take excellent pictures, even take a class. It will benefit you and that will be one more of the facets of sculpture that you won't be paying someone that does not care about your work to do.
(Little suggestion, even taking your own pictures during clay work will show you errors sooner than just looking at the work...photo's jump out at you).
My research is busting at the seams in a multi-fold file but this is something that you can not do without and you constantly add to it.
Your body of work photos are more important (for your portfolio or as handouts in the form of postcards or yearly mailings. They have to be kept gently, flat, accessible and ready to grab for a show. Make sure they are stamped on the back side with all contract information. You are right in thinking that it is a given that some people just like to go to shows and collect pictures and that is a waste but you never really know when a real patron that is interested but doesn't want to approach you until later may be taking a picture to remind them of your lovely work.
I have found that in the beginning I was dealing with a lot less and it was so much easier. My original plan was to keep everything on index cards in a small file box. I had tabs that included each piece broken down in expenses, dimensions, problems, patrons and shipping. Then I had my tab for services I use full of business cards.
I quickly out grew the file box and began saving all information on disc (but I also printed out a paper copy for quick references). Therefore my file box became a standing five drawer metal file.
I also learned to deal with financial record keeping, what to save and what is needed to back up your business. Considering the number of years you must keep information it is often overwhelming if not organized.
My photography (both my research pictures and my body of work) began to get out of control. In the beginning I was required to send only slides as entries to shows or studios portfolios. Eventually everything went to digital and even sending your art work entries was done online.
Another lesson I am learning is that the stark white background with no shadows required by most juried shows years ago are not acceptable photography for online. So therefore begins another lesson in redoing all sculpture shots.
My personal suggestion to all beginning sculptors, take your own photos and get the equipment in the beginning that is necessary to take excellent pictures, even take a class. It will benefit you and that will be one more of the facets of sculpture that you won't be paying someone that does not care about your work to do.
(Little suggestion, even taking your own pictures during clay work will show you errors sooner than just looking at the work...photo's jump out at you).
My research is busting at the seams in a multi-fold file but this is something that you can not do without and you constantly add to it.
Your body of work photos are more important (for your portfolio or as handouts in the form of postcards or yearly mailings. They have to be kept gently, flat, accessible and ready to grab for a show. Make sure they are stamped on the back side with all contract information. You are right in thinking that it is a given that some people just like to go to shows and collect pictures and that is a waste but you never really know when a real patron that is interested but doesn't want to approach you until later may be taking a picture to remind them of your lovely work.
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