S+ART

From one Artist to Another: Promoting your Art on the Web

                                  
                                          

Today we have to constantly keep up with the “on demand” lifestyle of rapidly growing internet users and compulsive buyers, so if you are an artist, it’s not a bad idea to start thinking of ways to display and sell your artwork online. Once you’ve decided to promote your art work on the web, you will have many options to choose from.

Since, it can be very overwhelming to find a site that meets your needs and budget, design for your template, host a large number of image files or videos, and so on and so forth- I thought I might simplify the process for you by reviewing and comparing the more economical hosting sites out there specified for artists. I am excluding big name hosting sites such as DreamHost and Dreamweaver, since they tend to be less user-friendly, or should I say artist- friendly, for the purpose of personalizing your artistic thought and advertising your artwork.

Here’s what I consider to be your best bets:

Foliotwist offers two good deals-

1)   $39.95 per month. A starter website package for first-time art website owners with lessons, weekly reviews, and 24/7 help and support, valid for a full year. This will be a little more pricy than choice #2 because of the additional help/support offered.

2)   $24.95 per month. For the more website savvy experts that want to save, you can try the Website Pro, with no extra help, just a website.

Perks: Once you seal the deal with Foliotwist, you will be featured on their website. Your name will be displayed alphabetically under the artist library page. Here is a link to the frequently asked questions that I will refrain from repeating, http://foliotwist.com/faq/

FASO: FineArtStudioOnline-

The most appealing deal that FASO offers is the Forever Free Plan, which as you would expect allows you to join and use many services (http://faso.com/free ) “free” for 60 days (but not forever). However, the general pricing gives you several low-cost options:

 beginners - $8/month, professional- $28/month, and platinum unlimited - $40/month.

Like Foliotwist, FASO offers the same artist website engine, and all that extra help/support service. So, what really distinguishes the two sites, besides the prices? I would say it’s the extra resource that FASO offers, a free daily e-newsletter called FineArtViews . The newsletter is constructed to help artists improve their individual sites with marketing tips, reviews, and personal articles.

Here’s a great source on reviews of hosting sites to see what the users rate on support/ pricing/ reliability: http://www.webhostingjury.com/reviews/dreamhost

If you want to go beyond the sites I’ve suggested, try the following:

When typing keywords in the search engine, be specific! If you are looking for a site to publish your photography, painting, interior/graphic design, and illustrations or merely to exhibit your art portfolio, include what it is you want to show. Chances are you will receive links to other artist’s sites that have used hosting sites geared to their area of focus.

Please feel free to leave your comments if I left out any vital details or can think of other sites worth mentioning, Thanks!

Keep your eyes peeled- I will feature another blog soon on suggestions and things to avoid when designing your site.

To be continued…

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~Margaret McClung

Fat Film and Light Leaks

One of the most common reasons for light leaks on medium format film is when it is loosely-wound after exposure. Loose, or "fat", film happens when there is too much slack on the take-up spool when loading the film in the camera. The biggest culprits are the inexpensive "toy" cameras like Holga and Diana that have no mechanism to wind the film tightly or hold it in place. My Holga has a low-tech piece of foam to put tension on the spool, but the Diana has nothing to make the spool fit tightly (and, the Diana is the one where all the post-exposure light leaks originate).

 

The film on the left was properly wound on the take-up reel, minimizing the occurrence of light leaks. The film on the right is loose, or "fat", and will have light leaks.

Light leaks, depending on placement, size, and personal preference, can either contribute to the image or totally destroy it. They can even cause the numbers from the backing paper to become imprinted on the film as light passes through it.

Loosely-wound or fat film can be minimized by making sure the leader is properly secured and wound on the take-up spool. The paper backing usually has a slightly tapered end that fits through the slit on the spool. Folding the leader will help it stay in place; sometimes a small piece of  gaffers tape  will help, as well. When the paper is securely wound on the take-up spool, the film will usually wind tightly as each frame is exposed.

This film is barely wound on the take-up spool and is not tight enough to wind properly. Film that looks like this when the back is placed on the camera will most likely result in a loosely-wound spool (even fatter than in the example above).

 

This film has been tightly wound on the take-up spool. The paper backing on medium format film is much longer than the film, itself, which allows for safe spooling to the start arrow without exposing the film.

Sometimes loose film just happens. When it does, be prepared so that the risk of image-destroying light leaks are reduced (or emphasized, if you like that sort of thing). Carry aluminum foil to wrap any loose rolls to protect from light once exposed and removed from the camera. The film wrapper can also be used; even a sheet of paper will help. If nothing like this is handy, shove the film into a pocket or the bottom of a bag until you get home to develop it. It may seem logical to squeeze the film if it’s loose, but try to resist - it’ll just make the light leaks worse (unless you want them, then squeeze away).

You can try pulling the film tight though nearly every time I’ve done this I end up dropping it and the whole thing unravels, so tighten at your own risk.

Hopefully these tips will help prevent any annoying light leaks other than the ones caused by your camera, itself (and, that’s the reason you’re shooting with a plastic "toy" camera in the first place, right?).

-Angela

From One Artist to Another: Building a Portfolio

If you are an artist aspiring to sell, display, commission your work or maybe even apply to school or an art-related job, then you will need to build a portfolio. By building an art portfolio, you are demonstrating your artistic skills and talents to your prospective clients or employers. One significant way to get noticed in the art world is through the showcase of your visual art pieces. You want your portfolio to act similarly as your resume and work experience, so don’t hesitate to invest a little extra money and time into it.

If you engage in art as a hobby then you may not need to make a professional portfolio, but it’s still nice to keep an organized storage of your works for reference. Chances are you already have a portfolio of some sort. It may be a rough portfolio, composed of sketches and drawing warm-ups, but that’s okay, you can still spruce it up!

 

         

Things you’ll need:

Digital Images of your Artworks: Whether you have to borrow your friend’s camera or rent one, you will definitely need a digital camera to take clear and clean shots of your work. Don’t try what I did, which was to take snapshots on my cell phone. Truth is, the quality will never compare.

Portfolio Case: Now that you have taken such impressive looking prints of your work, you will need a professional-looking portfolio case to make it complete. You can find these at your local art supplies stores and online: Utrecht, Plaza, Portfolios and Art Cases, Blick Art Supplies.

CD/DVD: Why stop at the portfolio when you can create a CD/DVD that includes high-resolution digital images of your work?  This creates another possible way for prospective galleries and customers to view your artwork, which can be an easier access and a great way for them to share your work with others. Be sure that the disc is correctly formatted to work on Macs and PC’s. You will never land the client or get in the show if the recipient of your disc cannot view your work!

Where to Begin?

Setting it up: Try placing your digital camera on a tripod (a box works just as well) to avoid image blurring. Setting your piece outside on a sunny day with the natural outdoor light shining down, will give you much better results than indoors. Find a stable wall or surface to prop up your work so it can stand almost perfectly upright. The distance between the camera and your works should be between 4-8 ft., depending on the size of your work. Hanging a backdrop to block any unwanted sun glares is simple, by using a white umbrella, towel or sheet (If indoors, hang between each light source).

Keep design in mind! : You don’t want your prints to be displayed in a random order. Instead, organize by style, medium, or subject so your works are presented in a visually appealing and cohesive arrangement. Include labels with the title, medium, date, asking price and any other detail asked from the prospective buyer or client.

Once you’ve assembled your portfolio with the organized prints, be sure they are securely in each plastic sleeve of the case. You wouldn’t want them flying through the air when opened! Lastly, include your contact info, business card if you have one into the portfolio, as well as your artist statement and bio. At last, you are done!

 

Have any experience with building a portfolio that’s worth sharing or have any tips/advice of your own? Let us know!

 

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~Margaret McClung

From One Artist to Another: Writing an Artist Statement

             
             http://commons.wikimedia.org/wiki/File:Colors_Paint.JPG

 

When it comes to writing an artist statement, you are not only trying to express your concept to someone else but you are also convincing yourself that you know what you’re doing. If you are struggling answering questions, that appear simple like,“What is your painting/photograph about?” or “Why did you feel the need to include this, or that?”Don’t fret, it’s not as nerve racking as you think. There are some helpful suggestions you can follow to gain a better understanding of what you want to convey through your individual expression.

You are an artist, so it’s only natural to think and express yourself visually. Because you are an artist you are sort of “expected" to make sense of what you illustrate. By keeping your statement fairly short and to the point you are already engaging the interest of your viewer.

1)      Simply look at your work. I find it incredibly helpful to review my work. Referring  to old paintings, drawings and sketches, helps me move forward in my ideas. This also gives me a sense of stability. I can see where my style and strengths have developed.

2)      Get inspired. Who are your influences? Think about another artist’s work that you love, hate or don’t understand and jot down all of the questions you would ask them if you had the chance. What, how, why, where.. etc. Now, remember these questions because you will have to ask yourself the same when explaining YOUR work!

Also, surfing the internet and reading other artists’ statements, both bad and good, helps you eliminate and add ideas to your list. 

3)      The basic questions you will be asked about your work begin with “why” and “how”. So begin your statement by answering why you choose to draw/paint/photograph your particular subject matter and how you did it. After answering the general “why’s" and “how’s” of what you do, then you should emphasize the unique elements in your work.

Things to keep in mind:

-Using words like “me, my and I” repeatedly. Obviously you will have to start out with these but try not to include these words in every sentence.

- Update your statement as you create new work. You want your statement to coincide with your latest creations and ideas so you will always be prepared to explain your concept.

- It’s okay to have more than one statement. Some of your works may call for an entirely different statement. Creating multiple statements may help you distinguish your thoughts.

Here are my influences for this post:

http://www.ehow.com/how_4531269_write-artists-statement.html

http://artistemerging.blogspot.com/2006/08/writing-artists-statement.html

http://www.writingtheartiststatement.com/

http://www.artstudy.org/art-and-design-careers/sample-artist-statement.php

 

Find this helpful? Let us know!

 

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~Margaret McClung

An Exhibition of ‘Timeless Modernity’ at the Hirshhorn

 A Response to An escapist exhibition firmly about escapism by Philip Kennicott

 

Is it not difficult to see with eyes closed or clearly think when the mind is looking for “tricks, illusions, and amusement rides?” It is equally difficult to define time (birth, growth, death, and rebirth), design, or its art as “merely dates, time lost [and] meaningless time.” Are each of us not ‘living’ Fragments in time and space? Like the questions of life, answers behind an exhibition’s conceptual design are not freely given to take. One must give many moments to ask questions, purge, and analyze details such as: structural design, the exhibition’s concept, its integration with art works displayed, and reoccurring themes in relation to the overall composition.

This exhibition is intended to be viewed in accordance to the natural cycles of life simultaneously with the surrounding natural world and universe, which is continuing and infinite.  Douglas Gordon's video installment "Play Dead; Real Time," 2003 displays one living elephant in white open space. The elephant is filmed in rotation while it stands, breaths, and plays dead, and then comes back to life. There is a beginning and an end to the cycles of life in the ways we perceive time but life continues, changes and evolves—it is timeless.

 

Five Past Eleven, 1989 by Ed Ruscha, Hirshhorn, Smithsonian 

In order to achieve this concept in a composition of multiple works, there must be a repetitive infused meaning between the space, place, visual design and symbolic message presented. The concept of Fragments in Time and Space as a ‘timeless modernity’ is in perfect union with the Hirshhorn Museum’s circulatory architectural design reiterating ‘constant’, ‘cyclical’, and ‘infinite’.  Ed Ruscha’s “Five Past Eleven” begins the exhibit with a partially shown, sleek man-made time-piece urging all to break time in the way individuals perceive it. Only then can one understand the ‘longevity’ of the surrounding natural world.  In design, as time continues, it is pertinent that the development of a piece of artwork continues to evolve. This exhibition proves the objective of creating a “timeless” design.

 

The goal of the designer in collaboration with the client (artist) is to maintain a relationship with the preexisting structure (Hirshhorn) and enclose it with a refreshed movement of space based on a composed context, design, and meaning in each piece. The structural design of the Hirshhorn features: original spaces, walls, pathways, and an outer and inner circle. In creating or designing an exhibition around the structural design, the meaning must be a direct reflection of the space and place its set in.

 

The exhibition’s concept literally rotates in a circulation of curves interchanging with stops and pauses in forced clock-wise continuation just as the earth rotates, sun and moon rise, and the reason time is perceived like so.

In this unique design, the outer circle is closed to the outside world—dark and windowless.

Meanwhile, dark spaces are accentuated by animated installations, films and videos that are vibrant and full of natural life and elements; timeless and continuing through perceived time.  In the natural world, some elements were here at the beginning and will be here at the end; they will fight through the billions of cycles of time. Hiroshki Sugimoto’s thirteen archetypal seascapes powerfully exemplify the ocean and its adjoining horizon in its infinite mystery, with no beginning and no end.                                                                              

The inner circle is opposite the outer circle yet intertwined as one. The real art is the exposure of light and the living world through large windows which is only accentuated by natural elements harnessed by man in the form of sculpture like the “Kantian box of space” and water.  This opposite and interlocking rotation between the two circles engages fusion between the inside and outside elements seamlessly to create a composition of “timeless” works.

 

In doing this, pieces of artwork and a site are separately renewed given the opportunity to evolve through constant development and perspective in association with inevitable change in time, place, and culture creating an Exhibition of ‘Timeless Modernity’.

 

~Matt Weiler

ERROR

I would like to point out an error in this week's Going Ons post.  Three of the events this weekend I have stated as happening at the Reynold's Center for American Art and Portraiture, which is in fact incorrect.  For those who are not already aware, the Reynold's Center for American Art and Portraiture is a conceptual title for the cooperation of the American Art Museum and the Portrait Gallery together.  It is not a physical space.

Corrections:

"Or maybe you would rather spend part of Friday, Saturday, or Sunday sitting in on some artist interviews being shown at the Luce Foundation Center for American Art.  The screenings are free and continuously rolling from 11:30 AM-7:00 PM."

"A little later on Saturday - 11:30 AM to 3 PM - stop by the Luce Foundation Center for American Art for some good old family fun.  Through activities and crafts you will have an opportunity to explore the stories behind the quilts in the Luce Center.  This event is free to the public."

"For some more family fun in the exact same time frame, scoot on over to the Kogod Courtyard at the National Portrait Gallery and the Smithsonian American Art Museum.  Take off with the museums and journey out to the Western Frontier.  Dress up like Annie Oakley or George Catlin for a photo-op and make corn-husk dolls and dream catchers to take with you.  Use the scavenger hunt through the art galleries as a map to the Old West.  Then return to the Kogod Courtyard to enjoy bluegrass music and storytelling."

Sincerest apologies for any confusion.

--Sarah Kramer, Studio Arts Intern