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B USI N ESS ADVICE + R ESOU RCES + E DUCATION + TUTOR IALS + ART N EWS

JUNE/JULY 2016

Find
Inspiration PAGE 20

Rejection:
Harness An Unlikely
Your Time
PAGE 52 Friend
PAGE 28

Fear Not
PAGE 14

Black and White No. 2 by Kevin Briggs


ITS HERE.
contents
JUNE+JULY 2016 VOLUME 30 // NUMBER 3

features 32
14 Put Fear in its Place
By Alyson B. Stanfield

20 3 Artists on Inspiration
By Gigi Rosenberg

28 Deal With Rejection


By Matthew Daub

32 Know About Art Judges 58


By Lis Zadravec

38 30 Years of Empowering Artists


By Jenny A. Babcock

46 Left-Brain Skills for


Right- Brained People
By Mary Edwards 66
52 Be a Productive Artist
By Judith Teitelman 20
58 Sculpting the Presidents
By Daniel Grant

66 Your Own Board of Directors


By Elaine Grogan Luttrull

2 Professional Artist JUNE+JULY 2016


on the cover
Black and White No. 2, 2015, by
Kevin Briggs. Gicle print, 24" x 32".
Copyright Kevin Briggs. Used by permission of the artist.

Read more about Briggs on Page 20.

columns
26 State of the Art:
A Tribute to David Bowie
By Terry Sullivan
14
45 The Artists Advocate:
Inspiration vs. Infringement
By Katie Lane

51 Coaching the Artist:


9 Tips for Inspiration
By Eric Maisel

57 Planning Your Art Business:


departments How to Calm Financial Chaos
By Robert Reed

4 Editors Letter
By Gigi Rosenberg 80 Artrepreneur Coach:
A Young Artist Grows Up
5 Headlines & Details By Rene Phillips
By Gigi Rosenberg

12 Artist Spotlight:
Veronica Jaeger
By Nada Hassanein

74 Calls to Artists
ProfessionalArtistMag.com

ProfessionalArtistMag.com 3
editors LETTER ProfessionalArtistMag.com
JUNE+JULY 2016 // VOLUME 30 // NUMBER 3
YOUR INSPIRATION IS AS IMPORTANT
PUBLISHER
AS YOUR BUSINESS PLAN Jannett R. Roberts
JRoberts@ProfessionalArtistMag.com
You cant wait for the muse, we all know that. If you
EDITOR
waited to feel inspired before heading to the studio,
Gigi Rosenberg
you might never go. You have to show up day in GRosenberg@ProfessionalArtistMag.com
and day out, no matter what. So, when inspiration
ASSOCIATE EDITOR
strikes, youll be at the easel ready to catch it. Nada Hassanein
NHassanein@ProfessionalArtistMag.com
This issue, with its focus on inspiration, had me interviewing three artists a
painter, photographer and muralist about how they fill the well. These artists ART DIRECTOR
find their inspiration in the natural beauty of the Kristen Schaeffer-Santoni

Your thriving wilderness, in quirky cafs and museums discovered on a KSantoni@ProfessionalArtistMag.com


CONTRIBUTING WRITERS
art business needs road trip, and in the mundane of deadlines and gessoed Jenny A. Babcock, Matthew Daub,
both you, the artist, panels waiting in the studio. Mary Edwards, Ph.D., Daniel Grant,
Lis Zadravec, Elaine Grogan Luttrull,
and you, the chief Your sources of inspiration are as important as your Alyson B. Stanfield, Judith Teitelman
business plan. Your thriving art business needs both you,
executive ofcer. COLUMNISTS
the artist, and you, the chief executive officer. To find out Katie Lane, Eric Maisel, Ph.D.,
how to apply your creative talents to your business, turn to Page 46 for Left-Brain Rene Phillips,
Skills for Right-Brained People by Mary Edwards, Ph.D. Robert Reed, Ph.D., CFP,
Terry Sullivan
If its time in the studio you need, then read Time Management by Judith Teitelman INTERN
on Page 52 to discover how to be a more productive artist. Or do you find that Ariadna Santos
moments of inspiration are sometimes met with feelings of fear? Learn how to
cope from Alyson B. Stanfields Put Fear in its Place on Page 14. ADVERTISING
Ads@ProfessionalArtistMag.com
Have you always dreamed of having a team of experts on your own personal board or 407-515-2603
of directors? This could be a reality if you read Elaine Grogan Luttrulls story on
PRODUCTION MANAGER
Page 66. Theres so much more in this issue about art in our nations capital, Anna Murray
Page 58, how to deal with rejection on Page 28, and even understand how jurors
CIRCULATION DIRECTOR
pick winners on Page 32.
Kim Madeiros
This issue marks the 30th anniversary issue of Professional Artist. On Page 38 MARKETING DIRECTOR
Jenny A. Babcock tells the story of our three decades and gives a sneak peek at our Elizabeth Hawkins
plans for continuing to inspire your art career.
TURNSTILE MEDIA GROUP
CHAIRMAN Rance Crain
PRESIDENT Patti Green

MAIN OFFICES
30th Anniversary 1500 Park Center Drive, Orlando, FL 32835
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contributor since 2005 Reproduction in whole or part without written permission
Dear Professional Artist, when I found is prohibited. NOTE: Copyrights in all artwork and articles
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4 Professional Artist JUNE+JULY 2016
BY GIGI ROSENBERG
headlines &DETAILS
EXHIBITION

CHECK OUT NEWLY EXPANDED SFMOMA


B y the time you read this, the
transformed San Francisco Museum
of Modern Art will have opened its
doors with nearly triple the previous
gallery space.
From a beautifully transformed
building with dramatically enlarged
gallery spaces, to our strategically
expanded collection and enriched
programming, SFMOMA embraces
its enhanced role in the Bay Area
and the international cultural world,
offering its visitors unparalleled
experiences with modern and
contemporary art, Neal Benezra,
the museums director, said in a
press release.
The Snhetta-designed expansion,
which incorporates the renovated
Botta building that opened in 1995,
includes 170,000 square feet of new
and renovated galleries, enabling
SFMOMA to display more of its more 1
than 32,000 modern and contemporary
artworks by Alexander Calder, Chuck from 1917 to a luminous landscape built
Close, Frida Kahlo, Jackson Pollock, out of blocks of color from 1940.
Gerhard Richter, Richard Serra, Cindy The exhibition Approaching American
Sherman and others. Abstraction: The Fisher Collection,
The museum, which opened its which is open on an ongoing basis,
revamped space on May 14, includes an explores the diverse approaches
art-filled ground floor thats open to all to abstraction developed since
free of charge. Admission for visitors 1950 by selected American artists.
18 and younger is also free. In luscious paint strokes, luminous
planes of uniform color and dynamic
The inaugural exhibitions showcase constructions of wood and metal, the
260 works of post-war and contemporary nearly 80 paintings and sculptures
art from the Doris and Donald Fisher assembled illustrate artists individual
Collection, including works of American ideas about the making and meaning
abstraction, pop, minimal and figurative 2 of abstract art. Highlights range from
art, as well as German art after the the forceful brushwork of Lee Krasners
1960s, among others. modernist Klee. This will be SFMOMAs Polar Stampede (1960), to the enigmatic
45th exhibition dedicated to the artist wood forms of Martin Puryears Untitled
On view in the new Pritzker Center since the chemist and playwright Carl
for Photography are works that illustrate (1990) and Malediction (2006-2007), to
Djerassi first placed his collections of 26 contemplative canvases and reliefs
photographys complex and ever- Klees work at the museum in the 1980s.
changing relationship with time. by Ellsworth Kelly and an intimate,
Works on view explore Klees use of octagonal-shaped gallery devoted to
Through September 2016, the show color, which was both intuitive and paintings by Agnes Martin.
Paul Klee in Color features 16 paintings theoretical for the experimental artist.
and watercolors by the Swiss-born They range from a delicate miniature For details, visit sfmoma.org.

1 Cit, 1951, by Ellsworth Kelly. Oil on wood, 20 joined panels, 56 x 70 x 1 . San Francisco Museum of Modern Art, the Doris and Donald Fisher Collection at the San
Francisco Museum of Modern Art, and promised gift of Helen and Charles Schwab. Copyright Ellsworth Kelly. Photo credit: Ben Blackwell. 2 Four, 1957, by Lee Krasner. Oil on cotton
duck, 58 x 53 . Fractional and promised gift of Barbara and Gerson Bakar. Copyright Pollock-Krasner Foundation/Artists Rights Society, New York. Photo credit: Ben Blackwell. Photo
courtesy of SFMOMA.

ProfessionalArtistMag.com 5
headlines &DETAILS

NEWS

ARTLIFTING CONNECTS HOMELESS


ARTISTS WITH MARKETPLACE

3 4

W hen Liz Powers used


to run art classes in
homeless shelters, she kept
would just be competing with
other nonprofits for the same
grants. She wanted to create
seeing the same problem: a financially sustainable
The art created often ended business.
up in the trash. So, she and
We made ArtLifting a
her brother Spencer Powers
Delaware public benefit
founded ArtLifting to help
corporation, a new legal
homeless artists connect with entity that combines high-
an audience. They started growth business with a legally
with four artists in Boston binding social mission. So
and now list almost 70 artists far, it has proven to be the
across the U.S. perfect fit. We have a double
The idea for ArtLifting bottom line: to maximize
started small in 2013 when both impact and financial
Liz organized an art show in growth, Liz wrote.
a donated space at Bostons Before we existed, many
Prudential Center shopping of the artists we work with
mall. After her brother joined had no outlet. The ones
her, they formed the for-profit that did, were lucky if they
company, ArtLifting, as an could make $20 selling their
5
online gallery for homeless and originals on a street corner
disabled artists. The company Artists earn 55 percent of the profit Original artworks have
now has seven full-time employees from each sale. already sold for as much as $1,700.
and artists in nine locations. Artists earn endless amounts of money
Liz realized the potential backlash
since we sell prints as well as products.
The website sells original art as well as about creating a for-profit company,
Being a benefit corporation is the
prints, posters and products so artists but writing on The Huffington Post
perfect solution for us.
can earn a recurring income from (huff.to/1CQD8tw), she explained she
each piece, according to the website. didnt want to form a nonprofit that For details, visit artlifting.com.

3 Scott Benner. Copyright ArtLifting. 4 Ed Johnson. Copyright ArtLifting. 5 Untitled, 2016, by Nick Morse. Acrylic on canvas, 20 x 20.
Copyright ArtLifting. Images courtesy of ArtLifting. 6 The Art Rules, (University of Chicago Press) by Paul Klein. 7 Paul Klein.

6 Professional Artist JUNE+JULY 2016


BOOK

KLEINS THE ART RULES OFFERS the most of your artist website.

BUSINESS ADVICE TO ARTISTS By serendipity, the painter Shawn


Demarest, who I interviewed in this
issue, was reading Kleins section on
I ts difficult being an artist. There
are no written rules, lots of different
role models, a propensity to go it alone,
art of high quality.
No matter how good
and unique your art,
authenticity in his chapter Trusting
Your Vision, which gave her the
shove she needed and inspired
and the necessity of growing ones own without community,
a new series of work. For
support community, writes Paul Klein it will be hard, if not
details, see Page 20.
in the opening of the second chapter of impossible, to find
The Art Rules: Wisdom and Guidance success as an artist, Klein, an artist advocate
from Art World Experts. Klein teaches. 6 based in Chicago, is a
former gallery owner.
Kleins top three criteria for success start How do you find this elusive In 2006, he was chosen
with community. Be a solid proponent community? Kleins chapter on Man of the Year by
of art and artists you believe in, Klein relationships includes sections on the Chicago Society of
writes. Success in the art world, like so finding mentors, connecting with more 7 Artists. He teaches online, is
many other places and things, is about experienced artists, dealing with shyness a mentor of TED Fellows and writes for
relationships, getting involved, helping and networking. The Huffington Post. For details, visit
others, and growing a scenario whereby kleinartistworks.com.
Other contributors cover topics
others want to help you.
ranging from nourishing an artists soul, The book, illustrated by Joe Fournier, is
His second criterion is to make managing money, working with and published by University of Chicago Press
distinctive art, and his third is to create without galleries, pricing art and making and sells for $23.

ArtSacks.
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ProfessionalArtistMag.com 7
headlines &DETAILS

RESOURCE

ARTIST TRUST SUPPORTS WASHINGTON ARTISTS

S ince Seattles Artist


Trust was founded in
1986 by a group of local
has an extensive listing of
opportunities and resources
that would apply to artists
artists and artist patrons, everywhere.
it has invested more than
At the groups most recent
$10 million in Washington
auction in February, the work
artists. Its founders
of more than 125 Washington
understood that to support
artists helped raise a
the arts, you had to invest
record-breaking $572,000,
in art at its source: the
a 13-percent increase over
individual artist.
the previous year, and the
To that end, the nonprofit most in the organizations
provides grants through history. The event, attended
9 by more than 450 art
a peer review process to
individual artists working patrons, community leaders,
in the visual, performing, entrepreneurs and young
their career goals.
media, literary and interdisciplinary professionals, as well as artists and arts
arts. Artist Trust also offers professional Although the organization serves supporters, celebrated individual artists
development workshops on a wide Washington state artists with the grant and the work of Artist Trust.
range of topics to help artists achieve program and workshops, the website For details, visit artisttrust.org.

8 Capacitor, 2013, by John Grade. Lashspun high-density polyethylene fabric, light-emitting diodes, wood, mechanical transmission, digital controller,
exterior sensors, John Michael Kohler Art Center, Sheboygan, WI, 2013. 2004, 2017, 2010 Grants for Artist Projects, 2011 Fellowship, 2013 Arts Innovator
Award, 9 Equilibrium, D['UVJGTFG/QPVGQTGU)TCPVUHQT#TVKUV2TQLGEVU2GTHQTOCPEGPhotos credit: Eric Parthum. Photos courtesy of Artist Trust.

8 Professional Artist JUNE+JULY 2016


BOOK

REFRESH YOUR ARTIST STATEMENT WITH WILLIAMS ADVICE

A uthor Gilda Williams is your best


tough-love writing teacher. If
youve ever struggled with how to
it matter to the world at
large? Her tips include:
Be specific, load your text
of the best writing with
close analysis of why and
how the writing worked.
write your artist statement, a press with solid nouns and avoid The bibliography offers
release or even a cogent email, this jargon, among many more. advice on the use and
book will help with witty, practical misuse of grammar, and
The third section of
advice and examples of both good tips on how to construct
the book is organized
writing and very bad. Its the artists around specific forms your own contemporary
version of Strunk & Whites The of art writing, including art library.
Elements of Style. the academic essay, Williams is a London
How to Write About Contemporary short news article, press correspondent
Art is an invaluable guide for the artist release, exhibition for Artforum and lecturer
or writer who wants to write about art review, book review, artist at Goldsmiths College and
statement, gallery guides and blogs. 0
in a way that will engage readers. Sothebys Institute of
In counseling the reader against Art, London. Shes the author of
The first section covers the reasons
common pitfalls such as jargon The Gothic (2007) and has contributed
for writing about art with chapter
and poor structure Williams points to catalogues for exhibitions at the
headings like Out of the blue: where
to the power of close looking and Whitechapel Art Gallery, London,
art criticism came from. The second
research, showing how to deploy the 48th Venice Biennale, and
section is a primer on how to write
language effectively, how to develop the Stedelijk Van Abbemuseum,
about contemporary art where
new ideas, and how to construct Rotterdam, among others.
Williams shares the three jobs of
compelling texts.
communicative art writing: What is The book, published by Thames &
it? What does it mean? Why does The book includes many examples Hudson, sells for $24.95.

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ProfessionalArtistMag.com 11
artist SPOTLIGHT

1 2

Veronica Jaeger Jaeger said the child in her paintings is


a depiction of herself as a young girl, or
Texas Artist Turns Hobby Into Business, Creates her own inner child trying to make sense
of the world or even living in her own
Surreal, Sci- Portraits With Architectural Elements micro-universe.

BY NADA HASSANEIN She remembers her Hungarian


grandmother planting the seed for her
interest in art as a child. Paint, she would

S
hes always been intrigued by ancient buildings and wonders of
say in her broken Spanish as she gave
the past the Aztec temples of Mexico, the Pyramids of Egypt.
paper, markers and paint to Jaeger and
Her mind doesnt tire of learning about new scientific approaches
her sisters. Growing up, shed craft paper
to energy and discoveries in space.
dolls for fun, and would always doodle
I love to question things everything, Veronica Jaeger said. cartoon characters on the corners of her
The intellectual lens through which she sees life shows in her layered oil homework pages.
paintings that often feature a childlike face as a focal point, and clouds or Now, her surreal portraits are often
geometric figures. inspired by environmental studies,

1 Rocket-Head, 2016, by Veronica Jaeger. Oil on canvas, 72 x 60. 2 Sphinx, 2015, by Veronica Jaeger. Oil on canvas, 20 x 10
Copyright 2015 Veronica Jaeger. Used by permission of the artist.

12 Professional Artist JUNE+JULY 2016



Eastern philosophies like Confucianism, evolved. As she developed a reputation
and sci-fi or existential books, like and received awards, the value of her
You have to learn
Zecharia Sitchins The 12th Planet. A line work has increased. Its very subjective,
in a book strikes her, and shell jot it she said, but she finds it helpful to stick
to listen to the voice
down to use as a prompt for later. to pricing guidelines she has developed
in reference to more experienced artists
inside you instead of
Her paintings are also affected by her
deep contemplation about current events.
and those at her level. the voices outside you.
Every day things that we see in the news Jaeger teaches private classes ~ Veronica Jaeger
I try to go inside and interpret them portraiture, collage, acrylics and drawing
my own way. She said that some of her weekly for adults and kids, and and sends an e-newsletter every few
family and friends in Venezuela, where gives monthly workshops. Shes not months to update supporters in her
shes originally from, have been victims of represented by a gallery right now, but circle about her work and whereabouts.
robberies and even shootings in the midst every year, its her goal to participate in The more people that see your work,
of political unrest. at least one solo or two-person show, the better you have more exposure.
The e-newsletter goes out to about
Maybe they are just nostalgic,
200 subscribers, and she said its
she said about the glassy-
been working well as a way to stay
eyed faces in her portraits.
current and memorable.
Internalizing and questioning
what is happening, not The day can become swallowed by
understanding. tending to other responsibilities, so
Jaeger organizes her time by waking
LISTENING TO up early and dedicating the first
THE VOICE few hours of the morning to apply
The geometric elements
to exhibitions and reply to emails
and industrial shapes in
before stretching her own canvas
her paintings come as no
and heading to the studio.
surprise, since she earned a
bachelors in architecture from In the future, Jaeger said she hopes
Rafael Urdaneta University to donate more of her art to
in Venezuela. Shed always fundraising events that
wanted to be an artist but benefit causes, because,
3
didnt know how to do it its not for you, its
and thats why she studied architecture. more for other people.
Cultural stigmas of art only being a along with group shows.
Last year, she was featured She hopes to continue
hobby and not a career had temporarily teaching and passing on
colored her vision, but one day she in the National Association
of Women Artists her love of art to others,
decided it was time to do something just as her grandmother
Viewpoints: Interpretation & 4
beautiful for me. did for her.
Imagination show. In total, her
After moving to the U.S. 14 years ago work has been showcased in more Its a way to find yourself
and earning a masters in art at the than 70 exhibitions. because if you love it, you can stay doing
University of Texas-Pan American, that for a long time.
Jaeger transformed her lifelong hobby
KEEPING HER BUSINESS
into a career.
IN SHAPE Learn more about Veronica Jaeger by
To market her work, Jaeger follows up visiting veronicajaeger.com. Follow her
Its something you feel inside. You with any connections shes made at on Facebook (Veronica Jaeger Art) and
have to learn to listen to the voice exhibitions and art events curators or Instagram (verojaegerart). PA
inside you instead of the voices outside directors at museums and galleries
you everyones going to tell you by sending custom thank-you Nada Hassanein is the associate editor of
something different. postcards in snail mail. Professional Artist. She holds a bachelors
in journalism and psychology from the
Jaeger sells her art through Etsy, and Along with maintaining a website, she University of Central Florida. Contact her at
over time, her pricing strategy has focuses on Facebook and Instagram, NHassanein@ProfessionalArtistMag.com.

3 Metamorphosis, 2016, by Veronica Jaeger. Oil on canvas, 48 x 60. Copyright 2015 Veronica Jaeger. Used by permission of the artist. 4 Veronica Jaeger.

ProfessionalArtistMag.com 13
P P
rofessional artists have a lot to
be afraid of. For starters, theres
fear of public speaking and fear of
rejection.

What could I possibly have to say that anyone


would be interested in hearing?
What if I forget what to say or worse, say
something stupid?
What if nobody likes my new work?
What if I never get in a gallery?
Another common fear is that friends and
family wont take you seriously, and that
there will be repercussions if you try to set
boundaries and assert your professionalism.
What will they think when I tell them I cant
pick up the kids after school because Ill be in the
studio?
Who am I to ask my family to change their plans?
Will he still be my friend if I cant keep our golf
date every week?
Heres a big one: imposter syndrome. This
is the fear that people will find out that you
dont know what youre doing.
What if they discover that I cant draw?
What if they see that shes better than me?
A problem that every other artist would
love to have, but is still a problem when it
happens, is the fear of being overwhelmed
by too much success.

14 Professional Artist JUNE+JULY 2016


1

Put Fear IN ITS Place BY ALYSON B. STANFIELD

1 Pages from Journal #13, by Jennifer Joanou. Mixed media, 10 x 16. Copyright Jennifer Joanou. Used by permission of the artist.

ProfessionalArtistMag.com 15
30Years
Terry Stricklands piece,
Voice of the Tiger, won
Professional Artists Portrait
Cover Contest, appearing
on the March 2011 cover
the first issue of the
magazine under its new
name.
DID YOU KNOW ?
Strickland was also featured on the
January 2006 cover of Art Calendar.

What if I cant keep up?


How will I balance my personal time?
And then there are fears around your daily
actions.
What if I send too many emails?
Why would anyone enroll in my class?
What if nobody comes to my opening?

Name your fear.


For 14 years, as Ive coached artists dealing
with big and small fears, Ive learned that
to move beyond fear, you must first name
it and then own it. Fears left unidentified
or disowned can manifest as excuses.
I dont have enough time.
I have no idea where to begin.
I dont want to bother people.
Im an introvert.
Im not ready. I dont know enough.
I need to wait [until I retire, until the kids are
grown, until I finish the laundry]. 2
I dont want to look stupid.
As a result, you avoid action, experience
paralysis or sabotage progress. Any way you Most importantly, you reach beyond your comfort zone when you have strong
look at them, fears hold you back. And most motives. You go to art openings and introduce yourself to people, apply to new
of us experience these throughout our careers. shows (or curate your own) and invite feedback in order to grow.

Fear keeps us safe. It will always be here Why do you want a successful art career? This is your motive, so its worth taking
to remind you that the unknown is scary, so the time to dig deep. Some of the motives for artists on the career track are:
you better learn to deal with it if you want a Q Money. Most artists know better than to seek the life of a professional
successful art career. artist for money alone because money isnt usually the only motive
but the need for it can be a powerful trigger.
Motive is stronger than fear. Q Freedom. You can choose your own hours, what to make, where to live
Fear has the advantage when motivation isnt
and when to work. (This is a blessing and a curse, as you might have
present. When the motive is strong enough,
discovered.)
you do whatever it takes to reach your goal
you take more classes, hire a coach, stay up Q Connection. Your art connects you to the bigger world. Its the way you
late or get up early. communicate and bond with humanity.

2 Chimeras and Oracles, by Katie OSullivan. Acrylic, oil pastel and graphite on canvas, 36 x 24. Copyright Katie OSullivan. Used by permission of the artist.

16 Professional Artist JUNE+JULY 2016


Q Personal fulfillment. Some When you have the motive, you can face
people have a kind of cosmic gene 7 Steps to Put Fear in its Place the other five steps.
that compels them to continually 1. Seek clarity.
evolve and better themselves. The first step to handling fear is getting 2. Commit to the work.
clear on your motive, which is something Fear says, Lets watch Oprah reruns this
Q Recognition. Youve done a afternoon. Lets see what my old high school
many of my clients struggle with. Nobody
lot of work on your own and its
has ever asked them why they want an art pals are up to on Facebook. Without the
nice when others appreciate your
career, so it takes a while to articulate a commitment, you listen to fear because
accomplishments. This is a strong vision. You might be in the same boat, so those things are fun and easy. (We
motivator for me. its worth investing time in this exercise. always look for easy so beware.)
What motivates you? Is your motivation
Sure, you could spend an hour or so


stronger than your fears and excuses for
not doing the work? Your biggest fear of all doing these things, which doesnt seem
that harmful until they start adding up.
Heres the thing: Nobody else can should be the fear of not Or, you could use that time to make art
motivate you. They can inspire you, but taking action toward your or network or write.
they cant give you the spark that sets
your art career in motion. Motivation
dreams. ~ Alyson B. Staneld 3. See a clear path.
must come from within you. Motive is one thing, but knowing the
Write out your motive and turn it into a path is quite another. Muddy goals are a
If you arent motivated to do the work, mantra. Make it a screen saver, put it in breeding ground for fear.
it doesnt matter how many books you the front of your journal, and do whatever
read or classes you take. Motivation it takes to keep it in mind. These are the Fear says: This person doesnt know what
is the elixir to swallow when fear is magic words that go with your elixir she wants, so Id better step in and tell her
pounding on the door. the incantation to your potion. what would be more fun and easier than

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By slowing the drying process down,
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With extra working time you can soften
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relaxed painting experience than you are
used to with regular acrylics.
Visit goldenpaints.com to explore
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ProfessionalArtistMag.com 17
the boundaries, people will keep asking silly
questions and making unreasonable requests
that test your resolve.

5. Seek nurturing relationships.


Avoid poisonous, negative people you need
positive relationships that sustain you. Become
a member of an artist group that is full of
ambitious artists who support one another.
I personally prefer live, in-person relationships,
but you might also find helpful online groups.
Its such a joy to watch the artists in my online
programs helping each other and celebrating
their wins together.

6. Listen to yourself.
Im so bad at marketing. Im terrible at following
up. I can never remember peoples names. If
youve ever uttered these words, youre in
good company. Its just loud-mouthed fear
spouting off again by making excuses.
Fear loves recognizing these self-criticisms and
signs of giving up. Its the perfect opportunity
for it to step in and take the wheel.
Become vigilant about the words you use
toward yourself, whether in person or in
writing. Instead of saying Im bad at, opt
for Im getting better at This shows you are
committed to making progress.
3
7. Take action and keep taking action.
Dont be idle long enough for fear to take

Dont be idle long enough for fear to take hold.


~ Alyson B. Staneld

working on that big project.


hold. Fear doesnt like to put in a lot of effort,
and catching up to your ambitions is probably
a bit too much for fear.
Your biggest fear of all should be the fear of
not taking action toward your dreams.
To set goals, start with the motive and fill in the steps between that end goal
and where you are now. You can never be 100 percent certain that the path will You can heal from rejection.You can
lead you there, but making this path will keep you moving forward. You can learn strategies to deal with criticism, the
always adjust. unknown, family obligations and imposter
syndrome.But you will never recover from
4. Set boundaries with people. not going for your dreams. Wouldnt you
Our buddy fear wants to see if you really mean what you say, so it sends rather regret something youve done than
you testers. These are people who push your buttons, looking for signs of something you never even tried? PA
weakness. They ask things like, Whats your real job? and Can you take care of my
kids after school? Alyson B. Stanfield is an artist mentor and coach
and author of Id Rather Be in the Studio: The
The testers need a talking-to. They need to know that you are serious and Artists No-Excuse Guide to Self-Promotion. Follow
committed. Remember: We teach other people how to treat us. If you want to her at ArtBizCoach.com to nail your motive and
be taken seriously, you must first take yourself seriously. If youre squishy on show fear the door.

3 Evas Ghost, by Lisa Cirenza. Digital painting and acrylic on canvas, 24 x 18. Copyright Lisa Cirenza. Used by permission of the artist.

18 Professional Artist JUNE+JULY 2016


E
pi
ph ra nd
D
ea ea gh

an ve
dl rin t H

T
W Ri

ie l,
in

s,
e s
a
on

g
t he
ts

at
is
rt
A
3

RG
BE
N
SE
O
IR

W
IG

ith this
G
BY

issues focus
on inspiration,
weve been investigating how artists
nurture creativity in the studio. Editor Gigi
Rosenberg spoke with three artists: a photographer
from Alaska, a painter in Oregon and a muralist and
graphic designer in Missouri to find out what they do to fill the well.
When photographer Kevin Briggs (kevinbriggsphotography.net) was
seven years old, he and his father were out Christmas shopping one day in
his hometown of Longview, Washington.
We turned a corner and there was a camera shop, and I saw these SLRs in the window, he said.
I froze. At that moment of seeing the single-lens-reflex cameras in the shop window, he experienced
a profound inner knowing: A camera, like the one he was staring at, was going to be a big part of the rest of his life.
1

1 SE 82nd no. 2, 2015, by Shawn Demarest. Oil and graphite on panel, 48 x 48. Copyright 2015 Shawn Demarest. Used by permission of the artist.
2 Rise Mural, 2015 by Phil Shafer of Sike Style Industries and J.T. Daniels. Spray paint and acrylic on concrete, 75 x 9.
Copyright 2016 Phil Shafer and J.T. Daniels. Used by permission of the artists.
ProfessionalArtistMag.com 21
30Years FEBRUARY/MAR
CH 2013
His second source of inspiration is harder to name, but just
as powerful. Sometimes when he looks at some of these
Professional Artists Feb/
Artists A landscapes, he feels something familiar about them, as if
March 2013 renowned cover Inventorss
artist was David Kassan.
PAGE 30
theyve always been a part of me, he said.
Paint the
Mystery
The piece, Approaching of Glass
PAGE 46
Increase You
Works Valu r
e
PAGE 58
In creating his work, hes fascinated with spatial
Noise, won the magazine Sell Online
Successful
ly
PAGE 10 relationships, he said. His focus is on the interplay
Art About
a Best Cover Charlie Award Our
Environmen
t
PAGE 69
between the horizontal and the longitudinal and how the
from the Florida Magazine   <: 
 05*(5(+(

light works with the two.


Association. APPROACHIN
G NOISE

Now in his career, he draws on this inspiration and I cant


by David Kassan

get it out fast enough. Theres too much of me that wants to


come out.
My dad said, Come on, lets go, Briggs said, but he
couldnt move. I pointed at the cameras. What are those?
The young Briggs knew they were cameras, but he wanted
to know what you could do with one and how to use it.
A year later, the following Christmas, his parents gave
him his first SLR camera. My uncle is a semi-pro
photographer and my parents contacted him. And he
started me down the road of photography.
Briggs has never looked back. He enrolled in formal
photography classes in sixth grade and took classes all the
way into college. But although he loved photography, he
never thought of it as a profession. I was either going to
be a lawyer or go to grad school and teach, he said.
Then came another life-changing moment. Briggs had
just finished his masters degree in political science
and was applying to doctoral programs, when he had a
meeting with his academic adviser who knew about his
photography hobby.
Regarding his plans to pursue a Ph.D., his adviser said
these words: Dont do it. Youre going to regret it. You will
regret it from the day you start until the day you finish.
This warning was not what Briggs expected. But his
adviser explained her own disillusionment with academia
and the publish or perish mentality.
Youve got your art, the adviser told Briggs. Pursue your
art. That was 15 years ago. Flash forward to 2015 when OTHER ARTISTS SHOW THE WAY
Briggs won a grant from the Pollock-Krasner Foundation
Studying other artists work has helped Briggs not so
for $30,000 to support his work in photography. He
much with inspiration, but with giving him the confidence
was the foundations first grant recipient in the area of
to pursue his passions, especially with color. Chagall is my
photographic fine art.
all-time favorite for his response to color, his unapologetic
Briggs doesnt find himself lacking inspiration in his use of color, Briggs said. Looking at the work of artists like
photography career. He always has more ideas than he has Rothko, Van Gogh and Monet have provided Briggs the
time to pursue. But when pushed to name what inspires confidence to follow where his curiosities are leading him.
him most, he said Alaska.
When he looks at these artists work, the message he
Briggs moved with his family to Alaska when he was 14 hears is: Whats inside of you is OK to come out now.
years old. He said from the moment he touched down in Weve done it. We put down our heart, mind and soul on
the state, the landscape and vistas, millions of years old, the canvas. Its OK. You can let it go, he said. Briggs feels
inspired him. Everything in Alaska is so vast, he said. a sense of relaxation after looking at these works because
The mountains are not the hills of Vermont theyre he feels confirmation that its OK to take the plunge and
20,000 feet. move in this direction with your life.

3 A Priori, 2015, by Kevin Briggs. Digital photo compilation, 16 x 16. Copyright Kevin Briggs. Used by permission of the artist.

22 Professional Artist JUNE+JULY 2016


4

Phil Shafers 5 tips to find inspiration


1. TRAVEL. Getting out of your and stay in touch with colleagues
own space lets you know youre not and friends.
alone. It also moves you out of your
comfort zone. 4. ENGAGE IN SOCIAL MEDIA.
The Internet isnt just about clicks
2. ATTEND LECTURES. Shafer and likes its about meeting
recalled attending a talk by Shepard people. Use it to get to know what
Fairey. His talk was so inspiring people are doing and to expand
to me. He said, Dont be afraid your network. Just dont let it take
to make money off your artwork
the place of showing up in person.
because someone else will. This
gave Shafer the confidence to keep 5. MEET WITH ARTISTS. Shafer
working to build his art business. has artist friends in many disciplines.
3. VISIT MUSEUMS AND They get together and talk about
GALLERIES. You have to show how they run their businesses. It
up and shake hands. You have to helps him to see how a printmaker
participate. You cant be an artist or a ceramicist budgets a job for a
in a bubble. Shafer is active on the client, for example. Theres so much
gallery scene because thats the to learn when artists get together
5
way he gets to meet new people and share business advice.

4 Smoldering Sky, 2008, by Kevin Briggs. Digital photo, 24 x 36. Copyright Kevin Briggs. Used by permission of the artist. 5 Phil Shafer.
6

TRAVEL AS INSPIRATION
When artist Phil Shafer (sikestyle.com) was a child he was first inspired to Shawn Demarests 7 tips for
be an artist on the subway. I was born in Brooklyn in the late 70s when
the city was saturated with graffiti, he said. He remembers riding the
re-igniting the spark of inspiration
subway with his mother and drawing, inspired by the street art. 1. TAKE A WALK. Breathe deep and
become aware of everything around you.
Travel is still inspiring for Shafer, whos a graphic designer and a muralist
Get out of yourself.
at his company Sike Style Industries. In 2014, he took a month off and
drove from his home in Kansas City, Missouri to Los Angeles. Once 2. WRITE. Practice stream of consciousness
there, I studied murals, street art, the gallery scene, he said. He let the by writing with no intention of it becoming
wind blow him to the most inspiring locations. One day, he noticed on anything cohesive. This practice can help you
clear your mind.
Instagram that artist Tristan Eaton was painting a mural in Santa Monica,
California, so he drove there, introduced himself and watched Eaton paint. 3. DANCE. Moving your body creatively can
exercise different parts of your brain and is fun.
On another trip last year that included Atlanta, Savannah, Georgia, and
Nashville, Tennessee, Shafer attended a mural festival and sought out 4. SPEND TIME IN NATURE. Nature feeds
the soul and can help you feel comfortable,
street art, letterpress shops and unusual architecture with his traveling
focused and relaxed.
companions, including a ceramicist and a printmaker.
5. PLAY A MUSICAL INSTRUMENT. This
COMMUNITY LIGHTS AFIRE could be anything a drum, piano, guitar or
ukulele.
Shafer has a large peer group of artists from across many disciplines.
Some are old friends from his alma mater, the Kansas City Artist Institute, 6. LISTEN TO A PODCAST. If the mind is a
where he majored in photography and new media. Having critical monkey listening to something, it helps you
friends inspires you to be good, he said. He really believes in the adage of focus on the work at hand.
surround yourself with people better than you. 7. WEAR A WIDE BRIM HAT. This helps cut
out visual distraction while you work.
He stays in touch with his network of colleagues and artists through social
media and email and traveling to see them in other cities. He also attends

6 Qdoba Mural, 2015, by Phil Shafer of Sike Style Industries. Spray paint on brick, 55 x 15. Copyright 2016 Phil Shafer. Used by permission of the artist.

24 Professional Artist JUNE+JULY 2016


lectures, workshops, museum exhibits and hes a regular
on the gallery scene. He believes in being social online and
in person.
Was he always such an extrovert? I had to learn to be an
extrovert, Shafer said. He credits his church in helping him
learn how to talk to strangers and in front of an audience.
They make you get up and talk to your neighbor. They
make you lead worship and prayer. That was my foray into
public speaking leading worship in church.

PROCESS AS INSPIRATION
Painter Shawn Demarest (shawndemarest.com) had
recently won a grant from Oregons Regional Arts and
Culture Council to paint streetscapes of one of the citys
major thoroughfares. The problem was that she wasnt
feeling inspired. In the interim between applying for the
grant and receiving it, shed started a new body of abstract
work that was completely different from her more realistic 7
street scenes.
In the original grant, I stipulated that my intention was to This reading was just the nudge I needed to take the step
continue developing my voice regarding the streetscapes, of drawing over my painting, Demarest said. The grant
Demarest said. Her original concept in the proposal was to money also gave her the confidence in her ability to create
paint her streetscapes and then incorporate text into them. something new. Nothing like a deadline and a studio filled
with gessoed panels to light a fire under you.
Demarest took photos, as she usually does for her
streetscapes, and then proceeded in the way shed always
RESIDENCIES FILL THE WELL
painted them. I trusted that an urge to add text or
something else would present itself. As the paintings When we spoke, Demarest was preparing to leave for
progressed I was probably working on four I began a two-week residency at PLAYA, a creativity retreat, in
to wonder when that inspiration would strike. Southeastern Oregon her second one at this same
location. Her plan was to get back to her roots in plein-
In the meantime, I was continuing to paint the abstracts air painting during her 14 days there. Ill be painting
as a kind of therapy. I loved doing them and it was hard outside and not necessarily painting realistically outside,
to switch gears to the realistic paintings that demanded she said. Ive been experimenting with responding to the
a different kind of attention or focus. environment.
One night, she picked up Paul Kleins book The Art Rules: At PLAYA, shell be in residence with eleven other writers
Wisdom and Guidance from Art World Experts (see page 7). and artists who each have their own living space. A typical
The book is a business book for artists, but that night day starts with a cup of tea and opening the door to the
Demarest was reading pages 29 and 30 about the studio to look at the work from the night before, she said.
importance of authenticity. First she read: Making good
art necessitates honesty. The more of yourself you put in At PLAYAs remote location on the edge of the Great Basin
your art, the more others will get from it. She read on: Be with the wind, the rain, the light in the sky, the colors
yourself. Be who you are. Be unique. Then find others who are constantly changing, Demarest said. After breakfast,
identify with your vision and your aesthetic. she packs up her gear, takes a walk and paints outside
until lunch. Afternoons are spent in the studio. During
These words urged her to try something radical. She the evenings she might chat with other artists around the
decided to draw the continuous pencil line from the bonfire. Its wonderful hearing what other people are up
abstract paintings over one of her half-finished streetscape to. It broadened my horizons. I kept pinching myself, saying
paintings. It felt great, Demarest said. As I began to paint youre one of the people here too, Shawn, she said. PA
using those lines as a kind of scaffold, I knew I was onto
something that was both authentic to me and exciting. Gigi Rosenberg is the editor of Professional Artist. Shes also
an artist coach and the author of The Artists Guide to Grant
DEADLINES IGNITE A SPARK Writing (Watson-Guptill, 2010). Shes been a guest commentator
on Oregon Public Broadcasting, performed at Seattles On The
On that day in the studio, two important elements collided: Boards, and been published by Seal Press, Poets & Writers, and
the encouraging words from Klein and the deadline for Psychology Today. For the latest, visit gigirosenberg.com or
the paintings. reach her at grosenberg@professionalartistmag.com.

7 Happenings Beach, 2015, by Shawn Demarest. Oil and graphite on panel, 10 x 10. Copyright 2015 Shawn Demarest. Used by permission of the artist.

ProfessionalArtistMag.com 25
STATE of the ART
By Terry Sullivan

David Bowie:
The Man Who
Moved Worlds

A
s a longtime fan of the
pop icon, musician and
actor, David Bowie, I
mourned his passing with
many others earlier this year. Since
my early teens, Id been captivated
by his provocative performances,
expressive songwriting and daring
artistry. No matter which persona he 1
chose to play Ziggy Stardust, the
Thin White Duke or perhaps himself
weird, outlandish noises they made place in the late 1990s: Hed already
he was mesmerizing to hear and
which he incorporated into songs, started a technology company, but
watch. Soon after his passing, though,
often as instrumentals. Even at the wanted to also launch an Internet
I realized that he was an inspiration
i`vvi]}w> service provider. For Bowie, it was a
not just to musicians, but also to
project, Blackstar, he continued brave new world, which was radical
many other types of artists, and even
experimenting with technology and and revolutionary. If I was 19 again,
to those outside the arts, such as
pushed others to experiment as well. Id bypass music and go right to the
entrepreneurs working in business
It was quite touching to learn how Internet, he said in a 1998 interview.
and technology. After reading many
he encouraged the lesser-known
articles on him recently, I found a He also speculated that the Web
musicians on that project to take
common thread: In the many projects could be useful in promoting his
chances with his compositions.
he worked on, there was often a music. His song, Telling Lies, was one
connection to technology. DAVID BOWIE, VIDEOGRAPHER: viw7iL}ii>i`
Bowies penchant for experimenting online in 1996. And his BowieNet
Here are a few notable ways Bowie
with tech went beyond music. For service, among other things, featured
embraced tech:
instance, the documentary Five forums and live-chat websites, which
DAVID BOWIE, MUSICIAN: Years shows how Bowie embraced included interacting with Bowie
ii]w >VV`i>wiVii>i himself. It was, in effect, a prototype
song, Space Oddity, he revealed how way he was drawn to experimenting of a social media platform, like Twitter
he connected with technology, which with audio. In that documentary, and Facebook, that would happen
in this case, was space technology. >`>i]>w>``i many years later.
Throughout the song, he mimics the director, noted that while directing
the video for the song Ashes to
DAVID BOWIE, BUSINESSMAN
real-life sounds that one imagines
Ashes, he told Bowie,...By accident, AND ENTREPRENEUR:
take place during a spaceship takeoff.
I found this great effect of making Bowie had a keen eye for what was
During the 1970s, he took a more the sky black and everybody have a taking place in the marketplace,
improvisational approach to his music halo, which Bowie was more than particularly in his main business,
using electronics. He, along with happy to use in the work. music, and he predicted the fall of the
his collaborators, like Tony Visconti traditional music paradigm. In a 2002
and Brian Eno, experimented with DAVID BOWIE, article in The New York Times, Bowie
various synthesizers and sound TECHNOLOGICAL VISIONARY: said of the music business, I dont
devices. Often, he didnt care how Another fascinating aspect of Bowies even know why I would want to be on
he used them: He just liked the relationship with technology took a label in a few years, because I dont

1 Memorial Still Life for David Bowie, 2016, by Terry Sullivan. Copyright 2016 Terry Sullivan. Used by permission of the artist.

26 Professional Artist JUNE+JULY 2016


think its going to work by labels and youtu.be/3fGBZhsa4VU. To read to learn from him, which I can apply
by distribution systems in the same about how Intel worked with Lady to my own creative processes.
way. The absolute transformation Gaga, visit: youtu.be/RaXFi876O6k.)
Greens animation of Bowie was a
of everything that we ever thought
Another extraordinary work of art sensation on the Internet. It was all
about music will take place within
online that many noticed soon after quite overwhelming to say the least.
10 years, and nothing is going to be
Bowies death was a brief, three- I tend not to look at my stats and
>LivVw`i
second animation created by a young followers on social media, Green said,
that copyright, for instance, will
British illustrator, Helen Green but when my January 2016 tweet
no longer exist in 10 years, and
although she actually created it for impressions appeared on my Twitter
authorship and intellectual property is
in for such a bashing. home page, I had to take a screenshot.
I was pretty stunned to see that my
In the same article, he made another tweets had 1.9 million impressions
powerful prediction: Music itself is over 28 days. Months later, she said
going to become like running water i}i}wV>ii
or electricity. Bowies statement day, attached to that animation. (To
is amazingly accurate in predicting see Greens animated GIF online, go
streaming music services, like Spotify to: helengreenillustration.com/Time-
and Pandora, years before they May-Change-Me.)
were invented.
Because Im an artist, I couldnt resist
DAVID BOWIES LEGACY: including a tribute of my own, which
Bowies musical, theatrical and artistic is the still life you see at the start of
legacy will be felt for years to come. A this column.
yv>Vii>vi 2
`i>iyiVi`ii>`> For me, my photo illustration of
implementations of visual technology. ivviVi`>iyiV i>
One spectacular example was the David Bowie never settled able to use technology to effectively
musical tribute to Bowie at the 2016 alter his voice both literally and
Grammy Awards by Lady Gaga, whose
in one place in terms of w}>ipiiii>
V]i>`v>iyiVV both his music and visual losing it. Im trying to depict in my
of Bowies provocative sensibility. But style ~ Helen Green still life what Jon Pareles, music critic
she also appears to share his love of for The New York Times, noted in his
experimenting with technology. In her obituary for Bowie: ...throughout
performance, Lady Gaga shined a light the musicians 68th birthday, a year Mr. Bowies metamorphoses, he was
on the Intel scientists she collaborated earlier. Green said the idea to create always recognizable. His voice was
with, and had called them artists: this animated GIF came from listening widely imitated but always his own...
All of the things that they developed, to Bowies 2014 career-spanning This is a powerful reminder for all of
that they research, that they invent compilation CD, Nothing Has us: Dont be afraid to experiment
they are dreamers, and that is at the Changed. I was thinking of making by altering your voice. Because
essence of being an artist, is having a some kind of visual career-spanning even when youre manipulating it,
strong vision that you chase after. compilation of my own, and so the in the end, its still your voice, your
animated portrait came to mind. expression and your vision. PA
The performance began with a
startling video that was projected David Bowie never settled in one
directly onto Lady Gagas face as she place in terms of both his music and Terry Sullivan is the former editor of
visual style, Green said, making Professional Artist magazine and the
sang. Later in the performance, Lady
former technical editor at American Artist
Gaga played on a keyboard that was >wiv>V>}V>>Vi
magazine. Hes currently an editor at
supported by three Intel-created and creator. I love that he didnt write Consumer Reports, where he covers digital
robots, which turned the piano into and perform to impress anyone other cameras, camcorders, smart phones,
a dancing piano. (To see the video >iviw>]> printers, digital imaging and audio. Hes
of Lady Gagas performance, visit: think he put it. Theres just so much also an artist and musician.

2 Photo of Helen Green, creator of the animated GIF, Time May Change Me. Used by permission of the artist.

ProfessionalArtistMag.com 27
Take the
DEAL WITH REJECTION
30Years Art Calendar was
named the definitive
source of listings for artists nationwide by Inc.

BY MATTHEW DAUB

W
eve all seen it before in movies: The prizefighter stands with
gut muscles clenched while the trainer pummels his midsection
as if it were an Everlast heavy bag. No further explanation is
necessary. The fighter is being conditioned to take punishment.
His next opponent is going to try to tear him apart. If the fighter
isnt accustomed to suffering he wont stand a chance. Go to the body and
then the head. Kill the body and the head dies. He has to toughen up.

Sorry if the metaphor is a bit heavy-handed, happen once in a while, but youre far more
but those of us in the creative arts need likely to end up looking like Joe Frazier than
conditioning too. Youll surely take your Muhammad Ali.
share of beatings. Dont imagine for a
moment you will somehow dodge the REJECTION IS YOUR FRIEND.
blows. You wont. You must get used to As you climb higher on the art world food
absorbing punishment if you hope to make chain, the consequences of failure become
it to the final bell. more consequential. A scathing review in
The New York Times may land with more
Most successful artists, whether young or devastating impact than one in The Lower
old, still experience the sting of rejection. Bumfort Gazette, but believe me, they both
Perhaps the art worlds less-than-one- hurt. Rejection at the lower level is your
percenters are immune but I doubt friend. It prepares you for rejection at the
it, and if they now live a miraculous higher levels. Learn to embrace rejection
existence somewhere out on the or at least make your peace with it. Once
astral plane, Im sure they still youve been conditioned you wont find
remember the beatings they yourself flat on your back quite so often.
took in their earlier days.
Thankfully, rejection is not a permanent
We have chosen a condition of our professional lives. For most
difficult profession. of us, rejection is interspersed over time
Get used to it. Theres with various degrees of success. Like the
a tough road ahead. bell ending a round, each success gives us
For you to imagine a moment to recoup, to catch our breath
otherwise is as before the pummeling begins again. Take
foolish as a advantage of your rest between rounds:
boxer thinking Enjoy and savor every minute, gather your
he or she is strength, but never think your trials are over.
going to There will surely be more galleries that wont
retire with want you, more works that dont sell and
a pretty critics who will happily dismiss you with a
face. It may casual tap of the keyboard.

ProfessionalArtistMag.com 29
YOUVE GOT TO BELIEVE. Throughout history, many artists have labored
Hope springs about as eternally as a worn out in relative obscurity. Some of them are now
clich, but if you lose it, youre finished. You household names. Many others have long
cant win a fight when youre absolutely certain been forgotten. Some of the once mighty have
you dont stand a chance. You have to believe fallen, and some of those once fallen have
victory is at least possible even if the odds are risen again. History will shake it all down


Just do
the work.
Thats whats
heavily stacked against you.
Marlon James, the Jamaican-born author
and winner of the 2015 Man Booker Prize for
A Brief History of Seven Killings, had his first
novel rejected by editors 78 times. At one
point he had actually given up on writing,
its not your concern.
Just do the work. Thats whats important. If
you love it, then do it. If you still love it, then
keep doing it. When you dont love it, its time
to quit. Listen to what your desires are telling
you. If you pay attention to what you love, the
thinking he was writing the kind of stories course becomes clearer.
important. people did not want to read. When finally
published, that first novel, John Crows Devil, DONT TAKE IT PERSONALLY.
If you love it, became a New York Times Editors Choice. It took many rejections before I finally was
then do it. I have never seen statistics on the odds of
accepted into my first national juried show.
I bristled at every postcard announcing the
If you still getting a first novel published, but I would
imagine there are almost as many first novels
jurors had deemed other artists worthier.
After critic Robert Hughes rejected me from
love it, then sitting in the bottom of would-be authors desk one show, I read his jurors statement in the
drawers as there are pens and spare change.
keep doing it. What if James had given up? What if he took
catalog. He said something like, I removed
those works that offended. So, my work was
~ Matthew Daub no for an answer on the 77th rejection? offensive. I held a minor grudge against
I sold nothing from my first show in Chicago. Hughes for quite a while until I was smart
I remember the rainy night of the winter enough to realize he was right.
opening, after driving more than 300 miles, Do you remember the corny old Paul Masson
standing almost alone in the gallery with wine commercials from the 1970s? Orson
my dealer. Not fun, nor a good omen that a Welles gazes piercingly into the camera and
successful career might lie ahead. Eventually claims, We will sell no wine before its time.
every one of those paintings sold in other Artists might do well to think about that.
venues and not too many years later at the
opening of a solo show in New York, and every We all believe were ready for prime time
painting except one had a red dot on it. before we really are. Plenty of rejection is due
to our own impatience. We try to sell our wine
Ive had plenty of ups and downs since. Just before giving it time to mature. I probably
when I thought I might have turned the corner jumped the gun during every stage of my
in my career I found the road ahead was not as career and my ambition resulted in many
straight as Id hoped or imagined. Theres always rejections. Even so, Im glad I put myself out
another obstacle. Life isnt easy as an artist. there. Ive learned as much from my failures as
from my successes.
ITS ALL ABOUT THE WORK.
I cant state this any more plainly. Success Dont take rejection personally. Dont
isnt based solely on which galleries represent internalize it and dont make more of it than
you or how much your work sells for. I can what it really is. Rejection simply means on any
think of several contemporary artists whose given day, you didnt achieve your goal. Yes,
bank accounts and resums (in my opinion) its disappointing: Welcome to the real world.
far outweigh the contributions theyve made
Theres always another day and another
to our culture, or as Wassily Kandinsky put it,
opportunity. On another day, the juror or
the cause of art. Conversely, there are plenty
gallerist may have eaten a ham sandwich
of hardworking artists who barely scrape by
for lunch instead of a pepperoni pizza. The
without causing so much as a blip on the art
next juror may see things your way. The next
worlds radar screen.

30 Professional Artist JUNE+JULY 2016


1

potential collector falls in love with your work Just produce good work work you can be


or not. Its a crapshoot at best, but its the creative proud of. Put in your best effort. Dont slack.
life we chose. Its the life we love.
When you take one on the chin, get back on
YOU CANT CONTROL THE OUTCOME. Learn to your feet. Dont lie down. Put your best out
I dont know anyone who enjoys rejection. I there and then take your inevitable lumps. We
certainly dont, although I can honestly say it lands embrace can wish for another world the way Dorothy
with less of a blow than it once did. Ive been rejection wished for Kansas, but that wont make it so.
conditioned by rejection. I still approach every new
opportunity with the hope of success. I remain or at least Well win some and well lose some. Thats the
optimistic, but Im much better equipped to deal way it is. No fighter, no matter how successful,
with failure than I was at the start of my art career. make your wins every round. PA

Remember, you cannot control the outcome. peace with it.


Matthew Daub (matthewdaub.com) is a professor
When you enter a juried show or contact a gallery
~ Matthew Daub of fine art at Kutztown University of Pennsylvania
or museum, the decision is out of your hands.
When a potential collector looks at your work, and is represented by ACA Galleries in New York.
the choice to buy or not is theirs. No matter your His watercolor paintings and drawings have been
professional goals, others will ultimately be in included in numerous invitational exhibitions at
charge of the outcome. institutions, including The Metropolitan Museum
Thats the nature of the business that we do. of Art and The American Academy of Arts and
Artists dont make the decisions the only thing Letters. Daub is also the director of ARTS SOJOURN
we can control is what comes out of the studio, (artssojourn.com), an arts/travel company specializing
and thats a pretty wonderful thing if you ask me. in painting trips to Italy.
Isnt that worth the risk of failure?

1 Matthew Daub teaching his art students how to accept rejection and prosper. Photo credit: Taylor Slusser. Copyright Taylor Slusser. Used by permission of the photographer.

ProfessionalArtistMag.com 31
1

1 Looking Back, 2015, by Lis Zadravec. Copyright 2015 Lis Zadravec. Used by permission of the artist.

32 Professional Artist JUNE+JULY 2016


30Years Professional Artists
April/May 2015 issue
won a Charlie Award for Best Trade Magazine from the
Florida Magazine Association.

WHAT TO KNOW ABOUT ART SHOW JUDGES

H
e looks intently at the painting, then Our lecturer this night was artist Glen Kessler, director
another, and then gets up, disregarding of painting program The Compass Atelier. I dont mind
some of the work entirely. The artwork is calling him brutal on this occasion, because Kessler is one
mostly leaning against the wall. A few of of the nicest and most helpful fellow artists you will ever
the pieces being considered are hung. He returns and meet, and this window into the workings of a judges mind
snaps pictures of some with his phone, saving a few was an invaluable opportunity. These knee-jerk reactions,
to look at again. He then rearranges them, gathers a his uncharacteristic, quick speech and abruptness were
group together to consider. Remembering us, he harshly all for our own benefit. Kessler was playing judge to show
narrates his thoughts aloud. Some of the work he had us how the process works how a judge could have too
cut on sight for breaking the rules, like badly framed, many pieces to choose from or seen too much of the same
unframed or unfinished-looking work. I gasp at the brutal subject, style or color. Or the judge could just be tired. And
thoughts he speaks in front of the artists themselves. how all of this plays into his decisions.
Skill level is criticized for lack of making any interesting
In large or national competitions, hundreds, if not
connection with the viewer or the judge. All I can think
thousands, of pieces may be entered. Imagine the
is how horrible this must feel for those whose work is on
number of really good works that have to be left
the cutting room floor. After all, I didnt even know this
behind when the exhibit is to only have about 50
is what we brought our work in for. A lecture on entering
finalists and a handful of prize winners.
shows, the invitation read. Bring work for critique. I
had brought in a piece whose merit I questioned. So far, I Method to the Madness
notice with relief, it had passed this severe criticism and When he is asked to judge, Kessler tries to approach
was promoted on to the gathered group. each piece with an open mind, he said. Though it

ProfessionalArtistMag.com 33
might seem that some jurors go with their gut or stay in technique and mastery of the medium. Beyond that, I ask
their own familiar territory, most have a method, a set myself if the artist has a strong viewpoint or a story to
of criteria for judging. Kessler has five points of criteria, tell. The difference in her list is subtle, but important.
which he puts in this order of importance: She adds, If you have a painting you really believe in,
then do enter it into at least three shows before you give
1. Technique: How well-executed is the piece?
up on it. You may receive an award on a painting that
2. Concept: What is the idea that gives purpose to the was declined by a different juror.
work?
Some shows are juried by one judge or curator, said
3. Personal or cultural relevance: How does the artist Carolyn Goodridge, president of Art Impact
concept connect to a personal or cultural imperative? USA. Carnaval: Celebrations of the African Diaspora was
judged by two individuals with different sensibilities,
4. Innovation: Work that steps out of the box to
which doubles the process of selection time, doubles
succeed will often get bonus points, Kessler said.
the discussions and debates. She and Carol Dyson, art
5. Presentation: This reflects not only on the care the historian and president of Black Artists of D.C., juried
artist has for his own work, but on the juror. After all, this show to coincide with Black History Month 2016.
his stamp of approval is on the entire exhibition. For Art Impact USA, the selection process is one which
doesnt only look at the narrative or how the art will
Qualifying his choices with this criteria gives integrity to
affect the viewers and visitors of the show, Goodridge
what Kessler has done. Those that have been chosen have
said, but how the entire process helps to mature the
risen through the ranks on merit and the judge has been
artist. The selection process entails not only aesthetics
as competent as human ability allows. Its important for
but the philosophy behind the piece and the ability of the
artists to know that judging is subjective, said Catherine
artist to articulate their purpose for creating the work.
Hillis, an experienced juror who will judge the 2016
Piedmont Plein Air Paintout. Her list of criteria is a shade They had more than 400 works to choose from and more
different from Kesslers. When I judge an art exhibit, Im than 85 artists, each with a different perspective. We
looking for the basics of design first, and then excellent want to not only honor and exhibit their unique vision

34 Professional Artist JUNE+JULY 2016


behind the theme, but also present to the community an
opportunity to recognize the artists best work, Goodridge
said.It makes for an interesting mix, curating from an art
history background and curating from the creative perspective
of the artist.As an artist and curator I walk in both worlds but
will always lean towards, advocate and fight for the artist.

How the Judge is Juried


Associations large and small must find jurors for their shows.
Melissa Miller Nece, president of the Colored Pencil Society
2 of America, explained that senior board members look for an
art professional who is experienced in all types of art genres,
3
media and has a track record as such in the art world.
The organization provides the judge with these guidelines:
that the art goes beyond preconceived ideas, avoids the
predictable and cutesy, is eclectic with a variety of styles,
subject matter, and features good drawing skills and
technique, but not to the exclusion of all else.The work
should also highlight creativity, conceptual thinking and
originality. This national organization, and many others such
as the Portrait Society of America, offer signature status to
their members, usually based on a number of acceptances
into their shows. Artists take these things seriously
imagine the boost to the artists career because of the status.
As an artist, you might feel at times that the judge might
have chosen impulsively or didnt adhere to the given criteria.
But he may be interpreting that criteria differently than
an artist. You may run into a judge who thinks completely
differently than you do about art. You may not realize that
the judge may be choosing a group that hangs well together
as an exhibit, tells a story, or shows what is going on in this
era or region in the art world today (according to the judges

When I judge an art exhibit, Im


looking for the basics of design first, and
then excellent technique and mastery of
the medium. ~ Catherine Hillis
perspective of course theres that subjective bit again).
These subjective choices can get under the skin of artists and
gallery management alike. After giving their guidelines, the
board or management usually gives free reign to the judge.
The horror stories run from odd, unexplainable picks to
choosing only the well-known names. On the other hand, as
an artist, you never know the thinking that goes into judging.
For instance, an artist may think he has a leg up with a new
concept that the judge may have seen a thousand times before.

What Will the Juror Say?


At many exhibition receptions, artists gather to hear the
jurors statement, eager to know how the choosing was done.
Instead of clarification, there may only be statements ranging
from a juror saying, I truly would have chosen differently on
this day than yesterday, to speaking about how a work had
moved him emotionally.
5
The fact is, two people, much less an artist and a judge,
rarely see a piece of art the same way. Certainly technique
alone cannot win me over, said Patricia Dubroof, a gallery
curator and former resident artist of Rockville, Maryland,
4

2 Lis Zadravec with her award-winning piece, Looking Back. Copyright 2015 Lis Zadravec. Used by permission of the artist. 3 Glen Kessler in front of his work, 2015,
by Evan Goldman. Photo credit: Evan Goldman. Copyright 2015 Evan Goldman. Used by permission of the photographer. 4 Catherine Hillis in front of her award-winning work
at Piedmont Paintout, 2015. Photo courtesy of Loudoun Sketch Club. 5 Patricia Dubroof hands out awards at Friendship Heights MAA Members Exhibit, 2015. Photo
courtesy of Montgomery Art Association.

ProfessionalArtistMag.com 35
6

for whom the nuance that reflects the Know your judge. Take a peek into his own work. If he has
artists point of view ranks so high that judged before, see what he has picked in the past. Would

Though it
might seem that
some jurors go
with their gut
technique is almost not important.
Last in her list of judging criteria is
technical ability. Perhaps as an intuitive
artist herself, shes choosing to give a
boost to art that is in her own genre
your own work appeal to this judges aesthetic? Dubroof
warns though, Dont do work just to please a particular
judge. Do work that pleases you. She finds those who
enter to try to win a ribbon ego-stroking and student-ish.

Then Why Bother?


a judge may choose what he best
Dubroof is not the only juror who thinks this award-
or stay in their understands. Dubroof stated that the
seeking isnt always valuable. Alyson B. Stanfield of Art Biz
abstract artist often has a harder time.
own familiar Giving them a shot is a valid reason for
Coach notes that while its personally rewarding for artists
to be recognized with awards by judges, it doesnt always
territory, most choice in her book. She also said judges benefit them outside of those shows. It depends on the
have a method. are subjective. A judge does not check style of art, she said. I imagine collectors of and venues
their own point of view at the door. for traditional styles of art are more impressed by awards
~ Lis Zadravec And she said, They shouldnt. than those in the contemporary market. Also, and I have
In fact, she feels that the judges point no proof of this, I can see that awards could benefit artists
of view is why they have been chosen to preside over the who want to teach outside of academia. Students who are
show. This is quite a refreshing dose of honesty, to say just starting to learn might view an award-winning artist
you will get the judges opinion and the judge feels that as more proven than other instructors.
opinion is held in high regard. But wouldnt a realist have In some art professions, awards are a boost. If youre
a harder time judging or choosing the abstract work? It an art teacher, you may get more students as an award-
may not be work the judge relates to and vice versa. winning artist. And remember, some portraitists

6 Kessler CircuitScape 12: Deluge, 2012, by Glen Kessler. Oil on canvas, 24 x 48. Copyright 2012 Glen Kessler. Used by permission of the artist.

36 Professional Artist JUNE+JULY 2016


5 Questions to Ask
Before You Enter a Show
Back at the Mock Jurying
Back at the lecture, Kessler chooses the handful of pieces
that made it to this nights pretend-exhibit. He then chooses
prizes. He pulls six the ones that most interested him
throughout the process. But there are only five prizes. He
1. Will the show 4. Has work like yours says the board of the imaginary arts organization has only
be a juried and done well at this show given ribbons for first, second and third places, and two
professionally judged in the past? Look at honorable mentions. Judges run into this all the time; that
exhibit? A professional past subjects, media,
is, restrictions made by a board that may not even make
judge is more likely to style and level of skill
choose according to that have done well at art themselves, and categories that seem odd are they
strict criteria. Having this show in the past. divided by media or subject? Are they choosing the number
work chosen by such Be honest. Is yours a of pieces by the size of the venue, or the number of prizes
a judge is validating, good fit? based on what has been donated or how many ribbons are
and could even be
a new line on your
5. Have you entered on hand? And so, a piece is cut from the running. Yes, its
in the past? If you cut for no other reason than some random stipulation, and
resum.
were rejected, then is only five pieces rise through this process to the top.
2. Have you considered this an exhibit youre
the cost? Will the aspiring to enter, and When entering a show, most having many more entries
publicity, chance of wish to try again with than this mock jury, you will never know how close
ribbon or sale, be a better piece? If your your piece may have come to being chosen. One judge
worth the entry fee, work did well, should overlooks you, another gives you best-in-show. Your
commission, framing you try for a blue style, technique or even media is not appreciated in one
and shipping costs? ribbon this time or
instance, but you are asked for an interview in another.
have you already won
3. Are you and your work best-in-show, so its You do some strange conceptual piece of work that
available for all dates people seem not to understand and find that same piece
time to leave on a
involved? You need appreciated by someone in a very public platform. In
high note? Or maybe
to be available for
its time to apply to be the end, its a gamble. Who can really figure it out? So,
delivery, pick-up and
the judge. go with your own gut and keep doing what you do best.
the reception. Check
your calendar before Make art you love.
committing to enter.
For some artists, shows are great opportunities just to
have work on the wall and get feedback, or for the thrill
of being chosen at all. I absolutely love to find a group
admiring my work and sneak quietly up from behind
to hear the conversation before introducing myself.
On some level, wouldnt all artists like to walk home
earned signature status because of those awards. In
with a ribbon and accolade? The strategic entering of
reading about John Singer Sargent, you will find he was
competitions is a career-building exercise, and has been
judicious, if not downright political, in the choosing of
competitions. Racking up the wins was how he charted since the dawn of the profession. There are judges you
his career. Not just that he won, but with which piece, will agree or disagree with, and it is your choice not to
against whom and where he entered were all serious enter where your work will not be respected.
concerns, deciding for him where and whom his next Choose your level, your venue and your judge. Enter
round of clients would be. Sargents winning portrait new exhibitions and learn from them. Throw a wide net
of Carolus-Duran, his own teacher winning even to expand your visibility, but dont just scatter pellets,
against Duran was a strategic and critical move on wasting your hard-earned money on random entrance
his part that set student above teacher in a brutal blow. fees. With a little research, you will learn to throw a
Indeed, if you win a lot, you may even be asked to judge. few darts. And if the stars align, you could bring home
Heres more gut-wrenching honesty: In every career, a win. PA
there is some form of judging. You are juried into a job
by interview and given promotion or raise, just like the Lis Zadravec is an award-winning artist, an arts newsletter
prize-giving stage. Being judged is not something unique editor and contributor to local and national publications.
to the art world. Visit her at lisarts.com.

ProfessionalArtistMag.com 37
Professional
ARTIST
Celebrates

30YEARS:
HOW THE MAGAZINE STAYED What we do know is just how far the

ONE STEP AHEAD OF magazine, as a brand, has come over the


last three decades. What started out as a

WORKING ARTISTS black-and-white newsletter, painstakingly


typed and pasted together on a kitchen
table and mailed to 200 subscribers, has
flourished into a national brand, delivered
to tens of thousands of visual artists
BY JENNY A. BABCOCK across the country, through multiple print
and digital channels.
Its experienced several print redesigns,
Pulled out of a mailbox, grabbed off a newsstand, clicked iterations of websites, digital editions and
online listings, new logos, new leadership,
on in an email or tapped open on an iPad at least one and endured the biggest test of them all
of those things happened for you to be reading this 30th a name change. And the changes keep
coming, with a new listings section in this
anniversary issue of Professional Artist.
issue, as well as a new website and online
One can only guess how itll be accessed 30 years from now store slated to roll out later this year.
unhooked from your personal delivery drone, streamed across the
But throughout it all, theres been one
lenses of your smart glasses, or cued up by a thoughtful glance at
constant.
your telepathy machine?
Our mission has been the same from day
one to help artists connect with more

38
30Years
Pat Witt won Professional Artists
2014 inaugural Mentor of the Year Search.

at connecting artists with income and


exhibition opportunities. She wrote
letters to art organizations and galleries
around D.C., asking them to send her
artist opportunities juried shows,
residencies, festivals, conferences,
internships, commissions and grants
for publication. Then, she diligently
typed them up using a word processor,
printed them out column by column and
pasted them onto boards.
She had no idea how such a magazine
would be received, and she remembers
being overcome with emotion after
finishing the inaugural issue.
Turns out, she didnt need to be worried.
The first issue of Art Calendar D.C. (or AC/
DC for short) published in 1986 as a black-
and-white newsletter. Blakeslee mailed it
out to about 200 artists, whose addresses
she had rented from a nearby art center.
It had such a warm reception that by the
second issue, she had already dropped
the D.C. so she could include art
opportunities in New York and beyond.
A year later, in 1987, she invested in a
business opportunities and be more savvy Macintosh Plus, a 20 MB external hard
as they grow a business in the creative drive, basic software and a laser printer.
TH E TAG LI N E WR ITTE N
arts, Editor Gigi Rosenberg said.
BY ARTISTS FOR Subscriber base surging, she soon added
Here, the founder, publisher, editor and some business-themed articles to the
ARTISTS B ECAM E A
longtime writers and subscribers shed publication, morphing it from newsletter
some light on how a little newsletter POI NT OF PR I DE. WHO to magazine. The articles were written by
grew up to celebrate its 30th birthday WOU LD B E CLOSE R TO industry experts (lawyers, psychologists,
and how its poised to stay relevant TH ESE TOPICS THAN photographers) and by artists sharing
whatever the future may hold. their firsthand experiences.
TH E VE RY ARTISTS
WHO WE R E ALR EADY By 1991, Art Calendar had a national
HOW IT ALL STARTED reach and its subscriber base was
Founder Carolyn Blakeslee got the idea R EADI NG TH E PAG ES doubling every year, bubbling up as high
for Art Calendar around 1985, when OF ART CALEN DAR? as 20,000, Blakeslee said.
she was in her mid-20s and studying ~ J E N NY A. BABCOCK
She couldnt believe how fast her side job
painting at Corcoran College of Art
had become her only job.
and Design in Washington, D.C. The I had to go all around town to find
emerging artist wanted to enter some I remember thinking in the beginning,
anything, and I thought, there should
juried shows to build her credibility, and I can do this part time, she said with
be a publication that does this, a laugh.
it proved tedious. The information for
Blakeslee said.
each show was only available through But it would be a project that would
each individual organizer, not from a Though she had no experience in consume her time for the better part
single source or database. publishing, she decided to take a shot of the next 20 years.

ProfessionalArtistMag.com 39
By the late 1990s, Art Calendar was We were still the most comprehensive,
publishing more than 5,000 listings a but they were nipping at our heels,
year covering more than 25 categories, Blakeslee said.
according to a direct mail brochure. And ITS CR UCIAL THAT
While the original reason to pick up Art
each one of the listings was screened, WE NAVIGATE TH E Calendar was for the calls to artists, the
verified and approved. SEA OF CHANG E, B UT practical, hands-on articles addressing
Submissions came in through snail R E MAI N TR U E TO OU R nuts-and-bolts issues faced by working
mail, fax, and the most exciting and emerging artists quickly became the
development email, which started
CONSTANT M ISSION reason to subscribe.
in the early 90s. Listings were free of OF PROVI DI NG OU R
The contributors began to tackle topics
charge as long as the call didnt charge a R EADE RS WITH TH E such as self-promotion and exhibition
fee to the artists, a feature that has been B USI N ESS KNOW-HOW strategies, art law, interviews, psychology
maintained to this day.
TO B E SUCCESSFU L of creativity, federal and hazard updates,
In September 2001, Inc. magazine profiles of artists and organizations as
published a feature on Art Calendar,
E NTR E PR E N E U RS. well as special reports.
~ JAN N ETT ROB E RTS
calling it the definitive source of listings
The magazine recruited writers who
for artists nationwide.
were experts in their fields, and in most
Before the Internet, the magazine was their issues in the mail by the first of the cases, that meant they were also artists
absolutely critical for artists who wanted month. We cannot control the post office, who could help other artists navigate
to enter shows, said Annie Strack but we can offer alternatives, Blakeslee the often-murky business side of the art
(anniestrackart.com), artist, longtime wrote in the June 2001 issue. world, covering topics that werent taught
reader and sometime contributor. It While the website, ArtCalendar.com, in art school then and in most cases,
was all about the listings there wasnt was in operation by 2001, it did not still arent.
anywhere else to get that information. house online listings until 2008, which The tagline written by artists for artists
The option of receiving a digital issue is about the same time that competitors became a point of pride. Who would
a PDF attached to an email was made websites devoted exclusively to art be closer to these topics, living and
available in 2001, after enough subscribers opportunities, with varying business breathing, than the very artists who were
complained that they werent receiving models started multiplying. already reading the pages of Art Calendar?
Gregory Frux (frux.net) was working
as a curator for the Department of
Education for New York City when he
first decided to submit an article to Art
Calendar. When artists would apply
for commissions, I would see the same
errors over and over. So, I created some
educational pieces. His first two articles
were published in 1996, and hes been
an occasional contributor since.
But being a writer didnt mean that
he stopped being a reader. He found
his first two national park residencies
through the listings section six years
after he started writing. That was a
crucial breakthrough in my career.
Jack White (jackwhiteartist.com) wrote
his Heart to Heart column for about 18
years. He wrote about the lessons hed
learned in his own art career as well as
how hed helped turn his wife, Mikki
Senkarik (senkarik.com), into a multi-
1
million dollar artist with a loyal following.

1 -i]wivii, 2011, by Samantha French. Oil on canvas, 48 x 36. July/August 2012 cover. Copyright Samantha French. Used by permission of the artist.

40 Professional Artist JUNE+JULY 2016


3

2 4

White often focused on the nitty, gritty myself to a point where the break the art opportunities the foundation
truth. His readers loved him for it. becomes inevitable and even unnecessary of the print product available
to shape my success. online for the first time. The publisher
I did my best to give the readers red also launched a weekly e-newsletter
meat, White said. Terry Sullivan, State of the Art columnist, containing a digest of these online
past editor and longtime reader, said its opportunities, which would come to be
Roopa Dudley (roopadudley.com), a
that relevant, easy-to-implement kind known simply as The Calls.
subscriber since 2002, said Whites
of advice that continues to make the
column Image, Its Everything, in which he In 2010, ArtCalendar.com was
magazine stand out.
references his trademark cowboy hat, left redesigned, including the addition of
a big impact on her. Artists appreciate specificity, he said. digital back issues and web-exclusive
Thats where the magazine does it best, articles. And two years before that,
I have consciously started to dress in
with its targeted and actionable content. the special publication Pocket Guide
a certain style so that I can pass as my series launched with Web Marketing
own painting, Dudley said. I get all for Artists. Since then, guides covering
NEW OWNER, NEW ERA
kinds of compliments and people find it self-publishing (2013), financial strategy
In 2006, Art Calendar celebrated its 20th
refreshingly entertaining. (2014) and the psyche (2015) have
anniversary, and after two decades of
Artist Bhavna Misra (bhavnamisra.com) ownership, Blakeslee decided to sell the joined the offerings.
had a similar revelation after reading The magazine to Orlando, Florida-based But probably the most extreme change,
Big Break is a Myth by Gwenn Seemel. Turnstile Media Group, which had the and positioning for the future, came
The article helped her completely redefine resources to take the publication to the in 2011.
what success means to her. next level and reach a wider audience.
Art Calendar, the magazine and the
I no longer wait for the opportunity to Shortly after the acquisition, Turnstile brand, now offered so much more than a
knock; I make all necessary preparation published the first full color issue of Art directory of art opportunities organized
to achieve the goal that I set for myself, Calendar. Over the next couple of years, by date and category. It was art-business
Misra said. I am working on bringing they redesigned the magazine and made articles, online resources and special

2 Three Chandeliers, 1987, by Arnold Mesches. Acrylic on canvas, 80 x 88. December 2012/January 2013 cover. Collection: National Gallery of Art, Washington, D.C.
Copyright Arnold Mesches. Used by permission of the artist. 3 MacIntosh Plus By Rama. (Own work) [CeCILL (http://www.cecill.info/licences/Licence_CeCILL_V2-en.html) or CC BY-SA 2.0 fr
(http://creativecommons.org/licenses/by-sa/2.0/fr/deed.en)], via Wikimedia Commons. 4 Art Calendars June 2005 cover featured Annie Stracks Rescue Swimmer. (Painting in
the permanent collection of the U.S. Coast Guard.) She began writing for the magazine soon after.
ProfessionalArtistMag.com 41
PROFESSIONAL ARTIST
OVER THE YEARS 2008
UWebinars debut and
Calls to Artists section
expands online with

1986 2006 e-newsletter

UArt Calendar
launches as a black-
1996 UTurnstile Media Group
acquires the magazine
UMagazine
as it celebrates its
and-white newsletter turns 10
20th anniversary
seedling for art and grows
opportunities with to 20,000 UMagazine makes a
200 subscribers subscribers splash on newsstands
in full color

Celebrating

Years

2001
UArtCalendar.com and
Artscuttlebutt.com
forum launch

1995 2011
UMagazine publishes The Art
Calendar Guide to Making a
2007 UArt Calendar rebrands
as Professional Artist,
UMagazine sports the foremost business
Living as an Artist and Getting a new look and
the Word Out: The Artists magazine for visual
revamped logo artists
Guide to Self Promotion

publications an all-encompassing mentorship not just for the emerging rebranding yet, complete with a
brand. What it needed was a name that artist but for the mid- to late-career redesign of its flagship print product
accurately reflected its editorial depth artist too, Rosenberg said. and web products.
and expertise as well as its expanding In order to continue profitability and
The new name really crystallized that
offerings, a name that identified its relevance in the art community, it was
business focus, both for its longtime
audience and its mission. time for the magazine to be rebranded,
readers and newcomers.
Professional Artist was born. said Jannett Roberts, Professional Artist
In 2013, maintaining the momentum publisher since 2012. As a business
We provide advice that connects the of the name change, Professional Artist content provider to an overwhelmingly
visual artist with strategies, insider tips, underwent perhaps the most dramatic creative group, it was important that

42 Professional Artist JUNE+JULY 2016


2013 2014 2016
UMagazine wins Best Redesign Award UProfessionalArtistMag.com
UMagazine amplifies its reveals a sleek, new look
from Florida Magazine Association
presence on social media,
UProfessionalArtistMag.com unveils reaching an all-time high UMagazine celebrates
new online Calls to Artists section 30 years of empowering
UMagazine initiates several artists
UProfessional Artist Store opens online, contests including Mentor
offering books on art careers and past of the Year, attracting
issues hundreds of participants

2013
UFeb/March 2013 issue
wins Florida Magazine
UStudent Outreach Program 2015
kicks off and Professional UThe Psyche of an
Associations Best Cover Artist Month debuts Artist publishes, joining
Charlie Award the magazines resourceful UMagazines April/
UFirst issue delivers on the pocket guide collection May 2015 issue
magazines iPad app earns Best Overall
UMagazine boosts newsstand Trade Magazine
availability, flourishing Charlie Award
to a historical high

we provided the most innovative Roberts brought in Art Director Kristen time without being too trendy, and really
business advice through multiple Schaeffer-Santoni, who has a fine arts resonate with this creative audience
platforms and formats. background and really related to the of all ages, Schaeffer-Santoni said. It
magazine and its mission. Schaeffer- needed to be creative and showcase the
Roberts changed the frequency of the
Santoni redesigned the magazine like an amazing art, and be easy to read. Theres
print magazine from 10 issues a year to
artist planning a new series of paintings such great content in each issue, that
six, and doubled the size of each issue,
for her collectors. I wanted to make each feature a little
allowing for expanded articles, more in-
jewel of its own, and make you want to
depth coverage, as well as the addition of A lot of thought and research went
read it from cover to cover.
the Headlines & Details department to into creating a look that was fresh and
cover more newsy items. modern, could withstand the test of With fewer print issues to produce, the

ProfessionalArtistMag.com 43
editorial team stepped up its digital
presence. ProfessionalArtistMag.com was
relaunched in mid-2013, with blogs, a
redesigned, search-friendly calls-to-artists
page, and an e-commerce store containing
back issues, pocket guides, books and
merchandise. An iPad app debuted and a
monthly e-newsletter, The Buzz, joined
the lineup to provide a portal to popular
blogs and artist galleries.
More resources were devoted to
cultivating Professional Artists social
media networks Facebook, Twitter,
Pinterest, Instagram, LinkedIn to
strengthen engagement with readers,
wherever they may be.
And for younger readers, Roberts hatched
a new initiative, Professional Artists
Student Outreach Program, in 2012.
The program, now in its fourth year,
distributes copies of Professional Artist
and art supply samples and coupons 5
provided by sponsors to college art
professors to hand out to their students.
Imagine being in Jackson Pollocks
Professors, often artists themselves, studio, watching him spread his canvas
know better than most that their on the floor, hearing the drip of paint
ARTISTS APPR ECIATE
students need more than a great art around you, Sullivan said. Or 15 years
education to make it out there. SPECI FICITY, THATS later, in Andy Warhols factory studio,
Over the years, the consistent
WH E R E TH E MAGAZ I N E where hes turning out silkscreens and
complaint I hear from artists is that they DOES IT B EST, WITH theres a bunch of crazy characters
never gained the necessary knowledge in ITS TARG ETE D AN D oohing and aahing.
school to be a successful entrepreneur, Whatever happens, theres a consensus
ACTIONAB LE CONTE NT.
Roberts said. Offering these packets among these writers and subscribers
~ TE R RY SU LLIVAN
provides these students ideas and best that the publication will stay relevant,
practices they will need as they venture guiding artists through the sometimes
out into a life of selling art. Perhaps the next big advance is an
interactive digital edition of the lonely world of living a creative life,
magazine, with videos and smart longtime subscriber Catherine Massaro
THE FUTURE (studiomassaro.com) said.
On the horizon for later this technology, something Schaeffer-
year is another redesign of Santoni said shed be excited to create. Roberts said the key is to embrace
ProfessionalArtistMag.com to The design will change (over the years), change and keep an eye on the pillars
accommodate the constant growth in and depending on a growing preference on which the magazine was founded.
mobile browsing, as well as a redesign of online content, we may see a digital
magazine that offers even more. The Its crucial that we navigate the sea of
of the listings section, the pages that change, Roberts said, but remain true
started it all three decades ago. opportunities are endless.
to our constant mission of providing our
Roberts said that starting with this If the magazine changes as much in readers with the business know-how to
issue, four art opportunities will be the next 30 years as it has changed be successful entrepreneurs. PA
explored in greater depth through in the last 30, who knows what it will
mini articles that include past winner look like? Sullivan is betting on it using Jenny A. Babcock is the former assistant
interviews and detailed information virtual reality technology to transport editor of Professional Artist. She holds a
about the arts organization. We are readers to the masters studios or allow masters in business administration and a
trying to give readers the inside scoop readers to touch the art in a museum for bachelors in journalism from the University
immersive education. of Central Florida. Visit jennyababcock.com.
on these listings, Roberts said.

5 Indian Summer, by Jamie Kirkland. Oil on canvas, 40 x 40. June 2012 cover. Copyright Jamie Kirkland. Used by permission of the artist.

44 Professional Artist JUNE+JULY 2016


THE artists ADVOCATE
By Katie Lane

How to Avoid Infringement When Youre Inspired


L
ets imagine youre on a hiking my clients on how to stay on the If you copy someone elses
tour of Scotland and youre right side of the law when inspiration expression, dont just borrow that
lucky enough to run across an hits. These arent hard and fast rules persons voice. Use their work to
original work by environmental artist (remember, this isnt legal advice), but say something new, something that
Andy Goldsworthy. You excitedly theyre meant to help you navigate wasnt in the original, something that
whip out your camera and capture the legal differences between is difficult or impossible to convey
the sculpture of leaves, sticks and inspiration and infringement. without using their work. Transform
ice from a dozen different angles, the work so that it becomes
IDEAS ARE FREE FOR THE TAKING.
knowing that when the wind and rain something different from what it was
Copyright protects the way in which
come, the work will disintegrate and when you found it.
eventually disappear. a creator expresses an idea, but it
doesnt protect the idea itself. NO RULES ARE GOOD RULES.
Back home in your studio, you decide A number of artists have told me that
to recreate the sculpture as a 3-D When someone owns the copyright
if they only use seven seconds of a
collage, using your photographs to to a piece of artwork, they own a
song, its fair use. Or if they invert an
reproduce the natural objects that were monopoly on how the work can
image and alter the colors, using the
in the original piece. Your piece is an be copied, distributed, publicly
modified image, its fair use. Or as long
exact replica of Goldsworthys, but displayed and further developed.
as they only use 49 percent or less of
yours is built from impressions of nature Wed quickly run out of new, legal art
someone elses work, its fair use.
and wont disappear with the wind. if that monopoly also applied to the
ideas that they captured in their work. All of these rules are wrong. None
Is this an example of being inspired of them are true.
by another artists work? Or is it If youre inspired by an idea that you
illegally infringing the copyright of see another creator playing with in Thats because there are no firm rules
another creator? her work, you can use the idea in when it comes to determining if a
your work without risking copyright work qualifies for fair use. The test
In theory, inspiration and infringement infringement. But avoid mimicking that the U.S. Supreme Court came
are distinct acts, easily distinguishable how the other artist expresses that up with to determine if a use is fair or
and in sharp moral contrast to one idea use your own voice to tease not requires courts to examine four
another. In practice, however, its not out the idea and share it with others. different factors about the work and
always clear cut. then balance those factors against
SAY SOMETHING ORIGINAL.
Copyright law allows, and even one another. As the term balance
Sometimes, though, copying the
encourages, inspiration under a should suggest, slight variations
expression is the whole point. Andy
doctrine known as fair use. Fair use between cases result in very different
Warhols 1962 Marilyn Diptych copied
is when someone uses a copyrighted determinations.
a publicity photograph of actress
work in a way that is technically Marilyn Monroe and reproduced it 50 Steer clear of easy-to-apply rules
infringement, but because of how times in bright colors and black and when it comes to using others work
it is used, it is determined not to white. Other than changing the colors they are almost always wrong.
be copyright infringement under
that were in the original, Warhol
the law. If that sounds confusing, Inspiration is vital for artistic progress,
copied the photo exactly.
youre in good company. The legal both for the individual artist and the
test for determining if a use is fair is Even though Warhol copied a work culture-at-large, so dont be afraid of
notoriously confounding, with courts that wasnt his own, that piece and being inspired by someone elses work.
issuing conflicting guidance on a many of his works using the image Just make sure the work you create as
regular basis. arent considered infringements. a result is undeniably yours. PA
What Warhol added to the photo and
So, whats an artist to do? Not be Katie Lane is an attorney and negotiation
how he used it said something about
inspired isnt an option, but neither coach in Portland, Oregon, helping artists
how he viewed celebrity, capitalism, and freelancers protect their rights and get
is use whatever you want and hope
privacy, and life and death. None paid fairly for the work they do. You can
you dont get caught.
of those statements are explicitly read her blog at WorkMadeForHire.net
Here are guidelines that I share with present in the original photograph. and follow her on Twitter at @_katie_lane.

ProfessionalArtistMag.com 45
LEFT-
BRAIN
SKILLS
F O R Right-

Brained
People

BY MARY EDWARDS, PH.D.


30Years DID YOU KNOW ?
Matthew Daub,
Professional Artist contributor, is a nationally-known
artist and art professor. His work has been included
in more than 150 juried and invitational exhibitions
including MoMA and the National Academy of Design.

sculptor is working in his studio, completing a


large-scale piece of public art. He gets so lost in
the process that he forgets the 5 p.m. deadline to
enter his work in a national juried competition.

but somehow inside them. So they blame


themselves, thinking that they are just lazy or
forgetful, or not good at meeting deadlines
or following instructions. But self-blame
doesnt help, because the source of these
problems and their solutions can be found
within the artist's brain.
Even though you may know the terms
left brain and right brain, you may not
An abstract painter is at home at her desk, understand how this dichotomy affects your
checking off items on her familys to-do-list: professional life.
Make a dentist appointment for her son, pick
up the dry cleaning, balance the checkbook. When you look at the research, you learn that
She wonders why she has no energy to go the brain has two hemispheres that are almost
into her studio to paint. opposite in how they experience the world.
This was first discovered by Roger Sperry
A fashion designer is sketching in her at the California Institute of Technology. In
notebook, pleased at the look of the new suit 1981, he won the Pulitzer Prize in physiology
shes creating. She can see her model walking for his split-brain experiments, and scientists
down the runway at New York Fashion Week. have validated and expanded on this work
But when the designer sits down to work, ever since. One of the most popular books for
she has difficulty understanding the detailed artists, Betty Edwards Drawing on the Right
instructions on how to make the zipper lie flat Side of the Brain, used Sperrys research to
on the delicate fabric. develop a new method to teach drawing. She
What is going on here? Why does the sculptor suggested how anyone could learn to draw
forget his deadline? Why does the painter if they could "silence" the left hemispheres
get stuck in routine tasks, when all she really interference and release the visual capacities of
cares about is making art? Why is it easy for the right brain. She taught artists how to see.
the fashion designer to imagine her creation
The following picture shows both cerebral
walking down the runway, but difficult for her
hemispheres and what information they
to follow written instructions? Are any of these
process. The image is a high-level overview of
dilemmas familiar to you? Do you recognize
these functions. When we look closer, we find
your own struggles as an artist?
six key areas which have a profound impact
Many artists believe that the source of on the careers of visual artists. Remember,
their dilemmas isnt just out there in the one side of the brain is not better than the
challenging demands of the art world, other just different. Each hemisphere has

ProfessionalArtistMag.com 47
LEFT BRAIN FUNCTIONS RIGHT BRAIN FUNCTIONS
Analytic Thought Holistic Thought
Logic Intuition
Language Creativity
Science & Math Art & Music

LEFT HEMISPHERE STRENGTHS RIGHT HEMISPHERE STRENGTHS


VERBAL (thinks in words) VISUAL (thinks in pictures)
SYMBOLIC (one thing stands for another) ACTUAL (only the thing itself is real)
DIGITAL (thinks in numbers) SPATIAL (perceives the world through physical
relationships)
TEMPORAL (aware of time)
NONTEMPORAL (unaware of time)
LOGICAL (follows reason)
INTUITIVE (insights come from recognizing patterns)
LINEAR (follows a sequence of linked ideas)
HOLISTIC (understands everything at once)

its own strengths and need to work intuitive, spontaneous and grounded order to pay attention to a left-brain
together for you to function. in the physical reality of making art. task. The painter checking off items on
You ignore details and perceive the her to-do list was so mired in a linear
To understand the profound and
world in a holistic way. You lose track sequence of tasks that she couldnt find
dramatic differences between the two
of time as your imagination runs free. her way back to the studio. And the
hemispheres, you only have to read
You may stay in that mode for hours or fashion designer? She was caught in
My Stroke of Insight: A Brain Scientist's even days at a time. This is the creative the middle while the creative side of
Personal Journey by neuroscientist process. But when you start to work on her brain happily envisioned her model
Jill Bolte Taylor. Taylor tells the story the professional aspects of your career, walking down the runway, she struggled
of what happened when a massive suddenly youre asked for a different to follow the instructions required to
stroke shut down the left hemisphere kind of thinking and doing. You must pay make the actual garment.
of her brain. Her compelling memoir, attention to deadlines, follow detailed
written 20 years after the event, reveals These examples illustrate the
instructions for entering your work in an
what its like to experience the world challenges artists face. Artists who
exhibition, develop a project plan for a
without a functioning left hemisphere. love to create but also want to
grant or a residency, analyze data about
Her personal story, combined with her achieve professional success need
your sales. The list is endless and every
professional insight as a neurosurgeon, to better harness both hemispheres.
one of these critical professional skills is
dramatically illuminates that reality. She Your art-making keeps you in a
based on left-brain processing.
describes an extreme version of what right-brain mode, but you have to
Now we can understand what was switch to left-brain processing to set
it can be like to live in the mind of an
happening to our three struggling goals, follow a logical plan and meet
artist immersed in the creative process.
artists: The sculptor got so lost in deadlines. Making art and managing
Now think about your own experience. his creative process that he missed your professional life pulls you in two
When making art youre using right- an important deadline because he directions; its no wonder you get
brain skills and processes. You are visual, couldnt get out of his right brain in discouraged and blame yourself for

48 Professional Artist JUNE+JULY 2016


not being good at the professional
side of your career.
But many artists succeed in business
by developing left-brain professional
skills. Graphic designers and digital
photographers, for example, are forced
through the demands of their medium
to become skilled at left-brain tasks.
Artists who started in the business
world often bring a wide range of left-
brain skills to their art career.
But what if you dont have such
background or experience? How do you
develop the skills you need? Believe it
or not, the creative side of your brain
can be your teacher. To find out how,
first observe how the hemispheres of the
brain operate when youre trying to learn
something new. Even though everyone
uses both sides of the brain, most
people have a dominant side. For many
visual artists, this is the right hemisphere.
Luckily the two sides of the brain are
1
connected through a lively band of
neurons. Think of them as messengers
whose job is to bring information from her sales she needed to understand McReynolds immediately understood
one side to the other. the details of her business success. Her what those excel spreadsheets were
bookkeeper had been keeping track of trying to tell her. She exploded with new
Your dominant hemisphere has more of each category sales from her studio, ideas about how to grow her business:
these messengers, who are activated galleries, art consultants and so on. The I really have two kinds of galleries:
when youre trying to learn something bookkeeper summarized all of this sales workhorses and show horses. Lets find
new. But heres the catch. Your right- data, which covered the last decade, on another one of each, she said. I can
brain messengers only understand Microsoft Excel spreadsheets in a long sell both originals and prints through art
information when it comes in their own scroll of words and numbers. consultants thats a good category
language: visual images and spatial for me. The big picture, right there in
forms. So how can they help you learn The information was presented in a
front of her, communicated directly to
the difficult professional tasks that detailed, logical, linear format. It was
her artist brain. She was able to access
seem foreign to your nature? all accurate, but her artist brain had
her own creativity in the service of her
trouble with the data. McReynolds once
My work with artists has revealed a admitted to me that while she paid business.
simple and elegant answer to this careful attention to each sale, she never
MAKE IT VISUAL
question. When you take left-brain data read the spreadsheets.
Another time I was working with a small
and translate it into artist-friendly
McReynolds business data needed team of artists who were re-launching
visual language, your right brain
to be translated into artist-friendly their art business. People loved their
understands what it means, and you
language that her right-brain colorful images on products (T-shirts,
suddenly get it.
messengers could understand. So she calendars, mugs). They wanted to
For example, Brigitte McReynolds put all of her sales data into a series of expand their customer base, but didnt
(brigittemcreynolds.com), an multi-colored pie charts. Remember, the know how to do it. We were talking
accomplished painter, wanted to right brain loves everything visual and about the demographics of their current
develop a new business plan. She had spatial. It doesnt absorb fine points of customers: their ages, lifestyles, income
been very successful selling her work detail but likes to see the big picture. levels and geographic locations. As we
in a variety of venues, but to increase When she first saw her pie charts, talked, this lively and creative group

1 Red Funnel, by Brigitte McReynolds. Oil, acrylic, and resin on canvas, 48 x 48. Copyright Brigitte McReynolds. Used by permission of the artist.

ProfessionalArtistMag.com 49
ARTIST-FRIENDLY BUSINESS PLAN (CURRENT INCOME)

ideas when they are presented in


tangible forms. Sometimes you
have to touch and feel something in
order to know that its real. You need
the 3-D version.
Take your career plan, for example.
Maybe you worked with a coach or
went to a workshop and produced such
a plan with clear goals, action steps
and a timeline. Most likely you keep
your plan in a nice binder or in a folder
on your computer. As time passes, you
wonder why nothing is happening.
All the energy and excitement of your
career plan has disappeared. You dont
find time to take any action steps, and
2 eventually, you forget you have a plan.
So what do you do? To convince your
artist brain that the plan is real, make it
3-D. For example, you might create a
of people just shut down. They were raggedly cut pictures over their heads. topographical map out of cardboard or
polite but clearly bored. I wondered, In less than an hour, the group reached papier-mch, showing in relief the path
what was happening? We were talking agreement. They discovered that the you want to follow. You could include a
about their customers, real people many pictures of current customers were small maquette of a New York gallery
who bought their products and were so similar that they cohered into a solid space, if that is your goal, or a tiny
critical to their success. But we were profile. These people were less than 40 version of your sculpture in a public art
using written reports, numbers and lists, years old, urban, with upscale incomes installation.
business documents that didnt engage and tastes. This was their sweet spot
them. When I realized this, I also noticed the customer base that would receive These miniatures dont have to be
that the community center where we most of their marketing dollars. accurate or even realistic, but you need
met was full of magazines: shelter to be able to see and touch them. They
A number of pictures of older people represent your intentions in material
magazines, fashion magazines, People,
suggested an untapped grandparent form. When your vision of success is
and so on. The next time we met I
market. These people loved to find right there in front of you, youll find the
decided to try an experiment. I divided
gifts for their nieces, nephews and creative energy to make your dreams
the group into pairs, handed them
especially their grandchildren. We set come true. PA
scissors and gave them the following
aside a chunk of advertising dollars to
assignment:
reach this group. Mary Edwards is a career and life coach
In the next 30 minutes, go through the for artists, based in the San Francisco Bay
You get the picture and so did they. Area. She has a Ph.D. from the University of
magazines, and cut out three sets of
By converting documents full of words Michigan and received her coach training
pictures:
and numbers into images, this team of from the College of Executive Coaching.
Q Images of your current customers artists tapped into their visual intuition. Edwards brings a unique combination of
Q Images of potential new customers They were able to access their own business knowledge, art world experience
Q Images of people who are not your creativity and apply it to their business. and professional coaching skill to her
practice. She works with painters, sculptors,
customers
photographers, designers and other creative
MAKE IT 3-D
Discuss each category and be ready to people who are trying to reach the next level
But sometimes a visual image isnt in their careers. For more information, visit
explain your choices. enough. Remember, the right brain isnt coachingforartists.com.
Suddenly the room came alive: Friendly just visual it likes an actual, tangible
arguments erupted, people waved thing. Artists best understand abstract

2 Artist-Friendly Business Plan, by Mary Edwards, Ph.D. Copyright Mary Edwards, Ph.D.

50 Professional Artist JUNE+JULY 2016


COACHING the ARTIST within
By Eric Maisel, Ph.D.

The Inconvenient Truth About Inspiration


T
he Russian composer 3. Quiet your anxiety, since anxiety get back to your current project
Tchaikovsky said two shuts down inspiration. Learn an it isnt good to leave projects
memorable things about anxiety management technique unfinished.
inspiration, the first more famous like deep breathing so that you are
than the second. Famously, he said, 8. Take a little time to ask and answer
calmer and more ready to receive
Inspiration is a guest that does not the following question: What
inspiration.
willingly visit the lazy. Slightly less new work might I do? Maybe you
famously, but along the same lines, 4. Consider inspiration a natural currently paint narrative paintings;
he explained, I am inspired every feature of how your brain is this the time for a surrealist
fifth day, but I only get that fifth works, rather than a mysterious month? Maybe you paint in bright
day if I show up the other four. something that you have to seek colors; is this a black-and-white
out, learn about or wait on. moment? New and inspired
This is yet another inconvenient truth
go together: Consciously ask
about the creative process: You have
yourself if you have some new
to be creating in order for inspiration
Inspiration is not like paths to travel.
to visit. Yes, sometimes inspiration
will arrive even though you havent 9. Think back on your own favorite
HTGGQCVKPIOWUKEVJCV
been working out of the blue, your work. What inspired that work?
doldrums end and youre excited to one can suddenly tune in Do you have any insights into
make something new, something that to rather, it is the result where inspiration came from in the
has just popped into your head. But past? Is there something you can
that is much rarer than the regular of sustained activity and recreate or replicate? If there is,
inspiration that naturally arises as strong intentions. make a point of doing it. Mozart
you apply yourself in a focused, explained that most of his best
routine way to the project at hand.
musical themes came to him while
Inspiration has to be earned. Once, 5. When you are pining for riding in horse-drawn carriages.
when asked how it was that he inspiration, return to those art- Wouldnt it be excellent if you
produced so much excellent work, related things that you love: art knew something of that sort about
composer Johann Sebastian Bach books, art materials, museums, your own process?
remarked, If you worked as hard caf life, nature, a bustling
as I do, youd produce as much Inspiration is real and invaluable. You
metropolis and so on. Dont sit
as I produce. The old adage that receive it primarily by putting your
and wait reach out into life.
creativity is 99 percent perspiration mind to your work, by thinking about
and one percent inspiration may 6. Change up your routine. Walk to it and even obsessing about it. Since
not be literally true, but that adage your day job instead of driving a it comes out of your own brain and
captures an essential truth: Inspiration great idea may pop into your head not from distant space, inspiration
is not like free-floating music that one as you walk. If you already walk to is never very far away. Open to it,
can suddenly tune in to rather, it work, try a new route. Changes, expect it and earn it. PA
is the result of sustained activity and fresh sights, new experiences all
strong intentions. help inspiration percolate. Eric Maisel is Americas foremost creativity
coach and the author of more than 40
If you want more inspiration in your 7. Put away your current project for books including Secrets of a Creativity
life, here are nine simple tips: a little while (without abandoning Coach, Making Your Creative Mark,
it) and allow yourself the chance Coaching the Artist Within, Fearless
1. Pick a creative project and work Creating, The Van Gogh Blues, and
to work on something new. If you
hard on it. Mastering Creative Anxiety. Dr. Maisel
dont know what that new project
presents two live one-hour teleclasses
2. Be open to inspiration by might be, walk around the lake or every month with the Academy for
daydreaming, by staring into space, around a downtown park and be Optimal Living. You can visit Dr. Maisel
by musing while, of course, also open to something new arriving. at ericmaisel.com or contact him at
showing up to your work every day. And, of course, remember to ericmaisel@hotmail.com.

ProfessionalArtistMag.com 51
Time Management:
Get What You Want Done
BY JUDITH TEITELMAN

NO.
Said firmly.
Emphatically.
Frequently with humor.

52 Professional Artist JUNE +JULY 2016


JUNE+JULY
JUNE+
+
Time
Successful time management is successful self-management. And
Management
successful self-management requires planning and organization and Tips
discipline the ability to respond and commit to your needs and
Everyone has his or
wants first and foremost.
her own organizational
The word no is your most powerful time management tool. system. Mine is a box,
But its the hardest word to say for many people. the kind you can buy
>"vwVi iv
The core of discovering why this is true for you


>vi}wi>
might take years with a therapist, but its likely every dance with a box.
because you dont want to disappoint. Or appear iiiV>i
selfish or self-involved. Or rude. Or dont want to feel They say that on the box, and as
guilty. You put the needs of others before your own iiVi}ii
and get lost in the mire of being pulled in too many time changes wii
directions, trying to please everyone else, while not item that went into the
accomplishing your dreams. things, but you making of the dance.
Of course, if you have children at home or an elderly This means notebooks,
or ill person youre caring for, their requests and actually have iV}]
]
requirements most definitely must be woven into `i>ivi
your own, if not supersede them. Sometimes. to change them working alone in my
studio, videos of the
However, if youre frank, even if none of the above yourself. dancers rehearsing,
scenarios are true you may still have an inability ~ Andy Warhol L>`}>
to articulate the word no. And an internal struggle >`iViv>>
invariably ensues. >>ii`i
The box documents
Nevertheless, change is possible: You can learn to articulate
the active research on
the word no with confidence, and you can get what you want
iiiVo/ii
done, done.
>ii>>iLiv
ii}iii
/// Take control /// `iv>>
Change, real change, sustainable change, must start with motivation. }i
Most commonly, the stimulus that fuels motivation only kicks in when you think and work, you
can no longer tolerate your circumstances. could do worse than
When youre completely fed up be it despondent, miserable, appalled, to start with my boxes.
dispirited pick an unyielding emotion and recognize that you have been The box makes me feel
in this state for far too long: when youve disappointed yourself too many }>i`o
times over the years, missed too many deadlines or lost out on too many ~ Twyla Tharp,
opportunities to advance your career. The Creative Habit:
Learn It and Use It for Life
At that moment, in distress, youve likely uttered any of the following
exclamations one too many times: Like Twyla Tharp, you
have to discover the
I have no control over my day! systems and techniques
There arent enough hours to get everything done! that work for you. To
Ive missed my deadline again! help, on the following
Im always being interrupted! pages are a few tips
I forgot about my appointment with the curator! and ideas. They wont
I dont know how to prioritize what little time I have to be in my studio! be appropriate for
There was no time today to (fill in the blank)! everyone, but its likely
Once youve arrived at this point, its the signal that things must change, and that something noted
you are motivated into action. Then, you ask: What do I do now? will provide the spark of
inspiration needed to
The response: Its time to create a plan and commit to it. animate your goals and
plans into action.

53
I saw the angel in the
stone and carved to
30Years Remember that
most successful
business plans incorporate multiple revenue streams
set it free. ~ Michelangelo for example, a combination of teaching, commissions
and wholesale. ~ Milon Townsend, Changing Your
Business Model, Art Calendar, September 2010
/// Move forward ///
Plan. The very word sends many into
convulsions.
help you get whatever it is that you want done, done.
Its too restrictive, too limiting!
It will make me feel as though I have no It will help you overcome your resistance to change we all share that
flexibility! manage your self and therefore manage your time.
I dont like or want or need structure! Significantly, having a plan empowers you to spend your days being
It wont allow for other opportunities that proactive rather than reactive. Setting goals helps you set boundaries.
I havent yet thought of!
How often have you been deep in the middle of your work, in the midst
Au contraire. of creating, when
As defined by Websters Dictionary: Q the phone rings and you immediately answer it?
Q the iPhone buzzes or Galaxy vibrates and you stop what youre doing to
plan (noun)
Pa series of steps to be carried out or respond?
Q e-mail, Facebook, Twitter or Instagram pings and you check the newest
goals to be accomplished,
Pan intention or decision about what one posting?
Q youve scheduled the day to be in your studio, when someone knocks on
is going to do,
Pa method devised for making or doing your door and says, Lets go to the movies, and you do?
something or achieving an end. Committing to and creating a plan your vision for what you want to
Does that sound painful? achieve in the next few months or years, including goals and priorities
will ensure that you get there. Period.
A plan is the means to the end that will
Why is this?
The simplest answer is once your goals are clear and you have invested the
energy into developing a plan to achieve them, your motivation is fixed
on an established course of action. Instead of becoming sidetracked by
distractions and diversions, people with goals that are written down
and not merely thought about or dreamed are, invariably, driven
into action, most especially if the document is kept nearby and
reviewed regularly.
Once you have your plan in place and have committed to your
goals, it will be much easier to say no to things that dont
fit within your determined priorities. And youll say yes
to those opportunities that come your way and you didnt
anticipate, but will flow smoothly within your vision. Thus,
youre in a much better position to manage your day, your
priorities, and your time.

/// Assess and visualize ///


Two key components of any planning process are: 1. to
glean a deeper and, ideally, more honest understanding
of yourself and how you currently use your time, and 2. to
envision what youre striving for.
Individuals perceive time, use time and respond to time in different
ways. As a result, strategies that will work for one person will likely
not work for another. There is no one way to be. However, what is
important across the myriad types of perspectives is to be conscious of
your own particular perceptions about time and how you use it.

54 Professional Artist JUNE+JULY 2016


+
Attitude
For example, are you extremely punctual? Chronically late? Believe that Take responsibility
whatever time you say, you always have at least a 10-minute leeway? Or for your actions
perhaps a combination? Do you do your best work first thing in the morning? and thoughts.
Or are you a night owl? Once you are clear about your attitude toward time U
and when you are most focused and productive, then you can figure out what iv
options you might have to make your particular time perspective work to your
>i>Li
advantage. `i>`]
Critical to this part of the process is the need for you to determine what i>V>>`
success means to you. While its generally assumed that success means ivviVi]V>
money, and for many it does, success likely means different things for different >Vii}>
people, such as 20 hours a week to work in your studio, three to four weeks a U
year to travel, and so on. 1`i>`
>`i>`
This depth of understanding, coupled with a clear vision is the beginning of
}>> i
your plan your ability to get done, what you want to get done.
viiLi>}
To help you begin this process, try this straightforward exercise that will lead VV}ii]
you toward developing your plan. On one sheet of paper create two side-by- `i>`
side circles. >`i>`
``ii`i
U
ONE WEEK vV>>
Today Vision ivii]
v`V>i
Friendys
Fa
Friendys

iv]7>
Famil

Ho
Ho

mil

>>`}
us
us

Co ati
Co ati

U
E

ew

&
ok ng
ew &
ok ng

&

in
in

ork

vviiiLi}
ork

g
g

Sleep Sleep
&

iVi`v>v
29% 29% }]Vi`i>
Teaching Li>]ii>
iiiLiiv
Teaching & Paying vV>>V
& Paying St Exe Work Exe
rcis
ud rcis U
Work io e 25% e
i`>iv
40% 9.4 Tim Studio
Tim
Do

i}
P a e w/

% e
er

Time v9Li>>i`
rtn
e wartner
gs

19%
ogs
P

Tim

>i>ii
/

vi>}i`i
D

U
`>L`
VVii
Label the left circle today and the right circle vision. Starting with the U
left circle, create a pie chart of how you currently spend your time in a typical
>Vivi
week. Note what percentage of the circle goes to a job if you have one >ii`
in addition to making art to studio time, family, friends, pets, exercise, `Vi
household chores, sleeping and so on. Be honest. iV>`>
>V>
Then, in the vision circle on the right, create a pie chart of how you wish
U
to spend your time using the same categories, but add, if appropriate, any
*iv>`Li
missing key component. Dont forget to include how many hours a week you
ii]iiV>
would like to spend in your studio making art and how many doing marketing.
i
When youve finished both, analyze the difference between the circles, >i`}i
critically and honestly. This exercise will provide you with insights into your

55
+
Planning
Find the scheduling
system that works for perception and relationship to time, and help move you toward having it
you and use it. work for you.
U Q What are the circles revealing?
Build in buffer time Q What areas or aspects of your life feel comfortable in terms of the time
for each project. committed?
Recognize that it will Q Which areas or aspects need the most change?
most likely take you
longer to complete a Then,
task than as originally Q What did you find most surprising?
envisioned. Q How does this make you feel?

U Q What is the most important lesson you learned from this exercise?

Write ideas, thoughts, Frequent responses to this exercise and these questions include:
inspirations, goals
and deadlines down Looking at these two circles makes change feel doable, manageable.
on paper. Refer to It helps me realize that it will be possible to get from here to there, and that
these notes regularly. Im actually closer to my vision than I ever imagined.
Thinking on paper It makes clear what the priorities in my life are.
makes it easier to I still cant figure out how to get more sleep.
review and revise.
U
Always keep your /// Onward ///
long-term goals Armed with a clear understanding of yourself and what youre striving for, be
in mind. aware of the fact that life will always include unexpected twists and turns. Your
U car wont start, your child, parent, dog, cat, partner, falls ill, your boss wants
Plan your day each you to work an extra day per week for the next month to meet a big deadline.
morning or the night All this can and will take you away from your very careful planning at least
before and make temporarily. Remain flexible and never lose sight of your goals.
a prioritized list of
Remember, committing to your goals and priorities will often entail saying the
tasks to accomplish.
word no. And thats OK. PA
U
Get the most Judith Teitelman brings more than 30 years of experience in helping grassroots,
important tasks mid-sized organizations and large institutions strengthen their management and
done as early in the resource generating capacities and effectively plan for the future. She is also a mentor
day as you can. and professional advisor to artists working in all disciplines. In her parallel realm,
Teitelmans first novel, Guesthouse for Ganesha, a magical realist tale of love, loss,
U
devotion and spirit reclaimed, is on its way to publication. She can be contacted at:
In your day/week, jtconsult@sbcglobal.net.
V>iiVwV
chunks of time to
answer mail (paper
and email), pay bills,
answer phone calls,
do the laundry, go
to the market, etc.
Try a Time Audit
Want to gain a clear understanding of where your time goes? Conduct a
U time audit.
Track your time to obtain an accurate understanding of how you spend the
hours of a typical day and week. For a minimum of two weeks, record how
you use your time in and out of the studio. Write down everything you do
computer, laundry, studio, TV, cook, eat, sleep, walk the dog, and so on
viw>ii}i}ii/
will provide you with a true overview of how you spend your time and why
you spend the time the way you do.

56
PLANNING your ART business
By Robert Reed, Ph.D., CFP

Five Rules to Calm Financial Chaos


Be regular and orderly in your Everyday emergencies range month. If you must go into debt to
life so that you may be violent from merely bothersome to truly buy a car, pay it off as soon as you can
and original in your work. exasperating, from a minor car repair and drive the car as long as you can.
~ Gustave Flaubert to suddenly needing a new furnace
GET THE RIGHT-SIZED HOME
for your home. These expenses

I
f youre overwhelmed by should be paid from a Ready Cash AND MORTGAGE.
lifes clamor, youll never hear Reserve held in a savings account. Buying a house is good debt
inspirations whisper. That is the Depending on your circumstances, an because it gains value over time
truth behind Flauberts insight. My adequate reserve will be 10 percent of albeit slowly. Buying too much
clients come to me wanting a regular your gross wage income or 20 percent house, however, saddles you with a
and orderly financial life so they of your net self-employment income crushing mortgage. You should buy
wont be distracted from making art. or, if you are retired, 30 percent of a house that is valued at 2 to 2
For ordinary folks, achieving financial your annual cost of living. times your annual income (3 to 3
peace of mind can be reduced in expensive regions of the country).
to five fundamentals. Obviously, If you earn $100,000 per year,
you should be looking for a house
these are general and dont speak You know that to improve
to every individual situation. between $200,000 and $250,000.
Nonetheless, in my decades as a
as an artist you must You need to put 20 percent down so
personal financial planner I have continually upgrade your mortgage is 80 percent of the
found these fundamentals to be purchase price. Finally, insist on a
your art skills. Apply the 30-year, fixed-rate mortgage.
bedrock. They were first articulated
by Bert Whitehead in his book Why same insight to your
INVEST IN YOUR CAREER.
Smart People Do Stupid Things workaday job skills also. This can be your art career or your
with Money and full disclosure
other employment skills. Many people
they are foundational to the
Alliance of Comprehensive Planners, lost jobs in the recent recession and
Dire emergencies are when life takes a havent been able to find another
a nonprofit group I am active in. significant detour, such as job loss or a either their old job no longer exists,
PAY YOURSELF FIRST. major illness. When these emergencies or it demands new skills they dont
Always, even in retirement, put aside strike, the last thing you need to worry
have. You know that to improve as an
10 percent of your income for long- about is losing your house. A dire
artist you must continually upgrade
term saving. If this seems difficult, emergency cash reserve should be
your art skills. Apply the same insight
think of it as living on 90 percent 20 percent of your mortgage balance
to your workaday job skills also.
of your income. Either way, these and is typically kept in a retirement
savings should be directed toward account for tax reasons. This is These five fundamentals do not
building a cash reserve, funding your enough money to pay your mortgage ensure great wealth, but they
retirement or any other long-term for 2 to 2 years, which gives you guarantee a regular and orderly
goal, in that order. breathing room while you deal with financial life. And such a life removes
important matters, such as regaining clamoring distractions that interfere
SAVE ENOUGH CASH. your health, a new job or career. with what you want to do: Create
Often, people get into financial
trouble because they dont have PAY OFF CONSUMER DEBT. truly original art. PA
enough cash on hand to meet an Consumer debt (credit cards, car
4QDGTV4Q[4GGFKUCJQNKUVKEHKPCPEKCN
unexpected expense. When this loans, and so on) is the black hole
RNCPPGT
2CTVPGTUJKR(KPCPEKCNEQO *G
happens, people are forced to of personal finance. Get rid of it as is the author of Your Art Is Your Business
increase debt (usually with credit soon as possible. The basic rule is not
[QWTCTVKU[QWTDWUKPGUUEQO *GNKXGUKP
cards). There are two kinds of to go into debt buying things that %QNWODWU1JKQYKVJJKUYKHGVJGCWVJQT
debilitating unexpected expenses: lose value over time, such as a car or .KUC-NGKP+PJKUURCTGVKOGJGRNC[U
everyday emergencies and mostly anything you buy with a credit ENCUUKECNIWKVCT7PHQTVWPCVGN[JGKUPQV
dire emergencies. card. Pay off your credit card every XGT[IQQFCVKV

ProfessionalArtistMag.com 57
BY DANIEL GRANT

Portraits in
Painting and
Sculpting the
President Not many artists start a career with
the plan of being a portraitist. Usually,
portraits are a fall-back activity for a
painter or sculptor with good skills
in figuration and obtaining a likeness
until they become the chief activity of
the artist, because this is what brings
in the money. Some artists, however,
are just born portraitists.

30Years One of the ways to prove the exception as an artist is to incorporate


your experiences the bad as well as the good into your creative
work. Many artists communicate nothing about their rich, poignant, all-too-human existence in their
art. The artists we revere regularly do. ~ Eric Maisel, Ph.D., creativity coach, author of more than 40 books
and longtime contributor to Professional Artist
1

1 Dr. William Quillian, 1978, by William Behrends. Marble, 15 x 8 x 9. Copyright William Behrends. Used by permission of the artist.
ProfessionalArtistMag.com 59
ne is Robert Anderson of Darien, Connecticut, who has been doing portraits
professionally since 1973. His road to a life as a portrait artist was quite straight-
forward thats what he wanted to study in art school, and thats how he began
to earn a living even before graduating but his road to being an artist at all
was a bit more roundabout. He enjoyed doing caricatures when bored in high
school but had never taken an actual class or lesson before entering college in
1964. At Yale, he was an American studies major and looked ahead to a career in
teaching high school, although he periodically submitted caricatures to the Yale
Record, the universitys humor magazine. While in college, he took a couple of
drawing classes It eased the course load, and there were no tests and only
one painting class. That course was taught by late portraitist Deane Keller, whose
painting of Senator Robert A. Taft hangs in the Senate Reception Chamber in the
United States Capitol. I got the bug for portrait painting at Yale, Anderson said,
but it never occurred to me that I would spend my life doing this.

After college in 1968, he joined the museum school, while still enrolled ladder, he has painted portraits of
Navy, spending a season patrolling as a student, he took his first steps power brokers in Washington, D.C.,
Vietnams Mekong Delta and later toward a portraiture career, getting a including former Federal Reserve
chasing Soviet submarines in the job creating pastel images of Breck Chairman Alan Greenspan and former
North Atlantic. By the time his Girls for magazine advertisements Department of Homeland Security
three-year tour was up, Anderson for the shampoo company. Between secretaries Tom Ridge and Michael
looked toward obtaining a graduate 1984 and 1989, the United States Chertoff. He reached the pinnacle of
education degree, applying to Postal Service commissioned him to success in the portraiture field when
Harvard University where he was create posthumous portraits (John he was commissioned to paint a
accepted. The only glitch was that he Harvard, after whom the university portrait of former President George W.
was leaving the Navy in December was named, and Sioux Chief Sitting Bush that was permanently installed
1971, and Harvard did not want Bull, among them) that were used in 2008 at the National Portrait
him to start in the middle of the on postage stamps as part of its Gallery in the nations Capitol.
academic year. So, Anderson quickly Great American Series. At the same
This wasnt Andersons first portrait
put together a portfolio that he time, he began getting portrait
of George W. Bush. Back in 2003,
submitted to the School of the commissions for the living, business
he had done one for the Yale Club
Museum of Fine Arts, Boston, where leaders and private school directors,
of New York City. Getting that
he was permitted to start right away. and the powerful, including former
assignment led to being hired for
I figured I would go for a semester, Massachusetts governors William
the National Portrait Gallerys
he said, but that plan changed as Weld and Edward King, former
commission. It helped that he had
he found out how much he liked Massachusetts Senator Edward W.
been acquainted with the president
devoting himself to art. He finished Brooke and former Yale chaplain
back when they were both at Yale
the program in 1975, earning a William Sloane Coffin.
in the same advanced Spanish
certificate, because he already had a
Most of my commissions have come class, struggling through the length
bachelors degree.
from word-of-mouth, he said of Don Quixote and occasionally
Through the placement office of the and word spreads. Moving up the running into each other while Bush

60 Professional Artist JUNE+JULY 2016


2 3

was attending Harvard Business School President Bush, who first apologized
and Anderson was at the Museum for the poor connection, because he was
School. We werent close friends, but phoning from Air Force One.
we passed each other now and then.
The Yale portrait has a more formal,
The amazing thing about George Bush
presidential look. The president is
is that, when you had a conversation dressed in a suit and tie, seated legs
with him, the next time you saw him, he crossed on an upholstered sofa in the
would remember what you had said and living room of his home in Crawford,
ask you about it. However, after the
early 1970s, their paths did not cross,
I got the bug for Texas, with only a faint smile on his
face. Anderson started painting on
and they lost touch for the better part portrait painting the day that the Iraq War began. His
of 30 years.
at Yale, but it never portrait depicts a leader at the apex of
his power. Only the presence of his dog,
Still, Anderson had a hunch that Bush
would still remember him, and shortly
occurred to me Barney, adds a touch of informality to
after he took office in 2001, the artist that I would spend the image.
contacted the Yale Club about doing a my life doing this. The two Bush portraits are similar in
portrait of the president and submitted a some ways the president is seated
portfolio. I knew that the Yale Club had ~ Robert Anderson on the edge of sofas in both paintings,
a tradition of commissioning portraits for instance and dissimilar in others.
of alumni who became president and, as Perhaps what unites both paintings
a Yale graduate and a classmate of the is the difficulty Anderson had in
president and a member of the Yale Club, portraying the presidents mouth.
I thought I had a chance of getting it. I bet I painted the Yale Club mouth a
It took over a year and a half to come to hundred times, he said, adding that
pass, but Anderson finally got a call from he had an equal number of tries for

23 John Bell, 1984, by William Behrends. Marble, 24 x 10 x 12. Copyright William Behrends. Used by permission of the artist.

ProfessionalArtistMag.com 61
the National Portrait Gallery painting. of each of the vice presidents, said
There would be too much upper lip, Barbara Wolanin, the recently retired
or too much of a smirk I was aware curator of the Architect of the Capitol.
of the public consciousness of his Carving has These busts are permanently displayed
smirking. Id paint the mouth, wipe it in the United States Senate Chamber.
off, paint it again, let it set for a couple become a lost Three criteria are used for selecting
of days, then decide, no that isnt art in the United an artist, she said. The first is that the
right either, so scrape it off and try
again. At the unveiling at the National
States, taught artist can do a good likeness, and the
second is references Does he get
Portrait Gallery, Anderson confided to at no degree- along with people? I called his clients
Bush that he had had trouble with his
mouth, to which Bush replied, That
granting colleges to check, she said. The last concern is
that the artist has experience carving
makes two of us. or universities, marble. Some artists can claim to have
SCULPTING POLITICAL which made experience working with a carver or
that they have shipped a model over
FIGURES AND SPORTS STARS Behrends the to Italy for someone there to carve,
nother portrait go-to artist for she said. Some have had their work

A
laser-carved, but that work looks dead,
artist, William those seeking nothing like an actual carved piece of
Behrends of
Tryon, North
hand-carved marble or limestone. Behrends skill in
Carolina, is a marble portraits. carving, as well as modeling, makes him
sculptor working a rather singular talent. Soon, were
in both clay
~ Daniel Grant going to have to find someone to do
and marble. Joe Biden. Who else do you call?
I started out as a portraitist, he said. In many ways, portraiture seems the
I never really thought about galleries, opposite of art as we have known it
and I think my last one-person show
portraits of golfers Bobby Jones (at the in the past century and a half. The
was at a gallery in Virginia in the early
Atlanta Athletic Club) and Ben Hogan personality of the artist, and the choices
1980s, although I entered work in
(at the Augusta National Golf Club), he or she makes, tend to be subsumed
National Sculpture Society shows.
and San Francisco Giants baseball stars by certain conventions. When you step
When he started college in the 1960s
Orlando Cepeda, Juan Marichal, Willie out of the box, you open yourself to
at the University of North Carolina
Mays, Willie McCovey and Gaylord criticism, said Simmie Knox, a painter
at Chapel Hill, his focus was painting.
But then I took a sculpture class, Perry (at AT&T Park in San Francisco). in Baltimore who was commissioned to
and it was so captivating to me that I create the official White House portraits
I dont market myself, Behrends
wanted to only do that. After college, of former President Bill Clinton and
said, but his reputation grew with
he continued his training at a sculpture then First Lady Hillary Clinton. I would
each commission, and it was through
school in Pietrasanta in the Tuscan never have public figures looking down.
contacting the National Sculpture
region of Italy, where he learned how They should be looking directly at the
Society in the 1990s that his name
to carve stone. Carving has become a viewer, as though making eye contact,
was passed on to the curator of the
lost art in the United States, taught because people want to see their eyes. A
Architect of the Capitol when the need
at no degree-granting colleges or necktie and buttoned collar is a must. A
arose for a sculptor to create a bronze
universities, which made Behrends the shirt and tie is a way of showing respect
bust of former Vice President Spiro
go-to artist for those seeking hand- for the viewer and for the office he
Agnew. More recently, he completed
carved marble portraits. holds. When you take the tie off, youre
a bust of former Vice President Dick
not doing business anymore.
Most of his commissions have been for Cheney that was unveiled last fall at the
bronzes, and a large number of them Capitol, and now he is working on one He added, there is a protocol, and, as
have been sports figures, displayed of Al Gore. Since the 1870s, there has artists, we are bound in so many ways
in and outside sports venues, such as been a tradition of commissioning busts to a tradition.

4 Willie Mays, 2000, by William Behrends. Bronze, 108 x 98 x 52. Copyright William Behrends. Used by permission of the artist.

62 Professional Artist JUNE+JULY 2016


4

ProfessionalArtistMag.com 63
As a result, portraits tend to look political and military leaders, corporate
more alike than not: The figure sits or and hospital chairmen, foundation
stands in the center, wearing a (usually directors, university presidents or
dark) suit, in front of a blank (usually wealthy people. Those with an aversion
dark) background. The background to people in high places might look
may have something in it if the subject elsewhere than portraiture for a career.
pays extra. Certainly, different artists A lot of times, I remembered Spiro Agnew from when
have their own characteristic styles
some employ a tighter realism than
the subjects want I was in college in the 1960s. A fiery
others, and some add a greater or lesser a painting that ideologue. I didnt like him, Behrends
said. Still, Behrends spent several weeks
amount of informality to their subjects
poses. Still, individuality is rarely the
looks like another at Agnews home, taking photographs
guiding principle for the people who painting done 25 of the vice president and measurements
of his head, creating a clay model of the
commission these portraits, and artists years before bust while Agnew sat. Throughout this
generally oblige by doing the expected.
Artists dont often period, the two got to know each other.
A lot of times, the subjects want In the evenings, the artist and the
a painting that looks like another have the freedom vice president went out for Maryland
painting done 25 years before, to do something crabcakes. As it turned out, Agnew
said Beverly McNeil, director of the was nothing like what I expected.
Birmingham, Alabama-based Portrait different. He was a wonderful guy. Behrends
Brokers of America, a gallery that ~ Beverly McNeil political beliefs hadnt changed but,
represents portrait artists. The new between college and when he became a
painting is going to hang in the same professional portrait sculptor, he had
room or hall as the other one. There become less emotionally involved. The
is often a series of these portraits job is to accurately depict a subjects
college presidents dating back to the head and shoulders to some degree
1880s, for instance that look similar as the subject saw himself and
to one another, and the new subject because more than 20 years had passed
doesnt want to stand out. Artists since Agnew had been vice president, as
dont often have the freedom to do he looked back then.
something different.
Part of the maturation process for
While intended to be celebratory and artists, and probably for everyone else,
commemorative, official portraits is to learn how to get over themselves
become obligatory and anxiety- and to find the good in someone they
provoking occasions. The individual otherwise might hold in contempt. It
or committee in charge of selecting an isnt as though Behrends was being
artist dont know the art world well asked to defend Agnew or the Nixon
and are leery of experimentation, said administration: Just make it look like
Carolyn Carr, chief curator and deputy the guy when he held the job and have
director of the National Portrait Gallery the process be as pleasant as possible.
in Washington, D.C. They gravitate to
If it took the artist any amount of
what was done in the past and are very
effort back in the 1990s to separate
concerned with appearance.
his politics from his artistry, it proved
In addition to artistic tendencies, no struggle at all more recently as
portraitists, as opposed to gallery Behrends was commissioned to sculpt
artists, may need to check their political a bust of former Vice President Dick
persuasions at the door. The subjects 5 Cheney, which was unveiled in the
of major commissions tend to be Capitol last fall. His current assignment

5 Vice President Dick Cheney, 2015, by William Behrends. Marble, 32 x 30 x 18. Copyright William Behrends. Used by permission of the artist.

64 Professional Artist JUNE+JULY 2016


6 7

is a bust of former vice president and portraiture is that portrait artists prime ministers wife, who was just
Al Gore. need to be willing to make changes. barely more incensed with it than
The client has to be happy, Julia her husband.
Both Cheney and Gore were very
Baughman, part-owner at Portraits,
gracious to me and my wife, he said. Perhaps, a final way in which portrait
Inc., said. Ears need to stick out
Theyre both very interesting people less, nose jobs that the sitter hadnt and gallery artists are distinct is that
and highly intelligent. He noted that been willing to pay for now are the the work of fine artists may be seen
his wife was on hand to keep the responsibility of the portrait artist, in galleries and museums, while most
conversation going. Smart most and mouths that are too large must portraits are locked away in board
portrait subjects are older people who be obscured in some way. At times, rooms. Those taking a tour of the
may become sleepy if they are required there is no way to solve a problem White House will see the long hall in
to sit inactively for extended periods of nature created, and some portraitists which official presidential portraits
time, and talking keeps them animated. are better known for criticism leveled are hung, and visitors to the Capitol
Portrait painter Gilbert Stuart, at them. Peter Hurd, artist Andrew will see paintings and sculptures of the
renowned for his portraits of the Wyeths brother-in-law, for instance, numerous vice presidents, speakers
nations first president, wrote that is best remembered for painting former of the house and committee chairs.
a vacuity spread over [Washingtons] President Lyndon B. Johnsons Its easy to be the most famous
countenance as soon as Washington portrait because of the sitters response portrait artist on the planet and still
(the ugliest thing I ever saw), and largely unknown. PA
began to pose, and the artist had to
Graham Sutherlands portrait of
keep up a steady patter of conversation
Winston Churchill was actually never Daniel Grant is the author of The Business
to keep him alert.
seen by the general public it was of Being an Artist and several other books
Another distinction between gallery art destroyed by the former president and published by Allworth Press.

6 Justice, 1978, by William Behrends. Bronze, 24 x 14 x 10. Copyright William Behrends. 7 Henry Ford II, 1989, by William Behrends. Bronze, 71 x 18 x 16.
Copyright William Behrends. Used by permission of the artist.

ProfessionalArtistMag.com 65
Create Your
Own Personal
Board of
Directors

Strategies to Build A CORE COMMUNITY OF SUPPORT


BY ELAINE GROGAN LUTTRULL

1 Papers #4, 2016, by Erin M. Wheeler. Papers, ink, pencil, acrylic on watercolor paper, 30 x 22. Copyright 2016 Erin M. Wheeler. Used by permission of the artist.

66 Professional Artist JUNE+JULY 2016


2

P
icture this: Youre struggling with a
challenge, a creative conundrum or
perhaps a business-related one. Whatever
it is, its tough. None of your normal
channels of support a partner, friend
or instructor have exactly the advice youre looking
for, even if you dont quite know what that advice is.
Now, imagine you have a community of support: individuals with varying
experiences and expertise at the ready. One of them is always available for
a phone call or a lunch meeting, they listen more than they talk, and they
1 nudge you in the right direction, sharing their experiences and expertise
along the way. This community has a diverse breadth of experience, and
each brings technical expertise different than your own to round out your
best information.

2 Self Portrait #16, 2015, by Pippa Arend. Oil on canvas, 48 x 56. Copyright 2015 Pippa Arend. Used by permission of the artist.

ProfessionalArtistMag.com 67
30Years DID YOU KNOW ?
Professional Artists Pocket Guide
series features four guides to
fuel your art career, including the Pocket Guide to Web Marketing,
Financial Strategy, Self-publishing and The Psyche of an Artist. Visit
ProfessionalArtistMag.com/Store to purchase.

This group is your own personal board of directors.


In its most traditional sense, a board of directors
provides foresight, oversight and insight to the
organization it directs. In a nonprofit context, the board
protects the mission of the organization, honors donor
intent and builds sustainability for the future.

Board members care for the organization by preserving


and protecting the assets of the organization
including its people, its reputation and its physical 5
property. They are loyal in that they must act in the
best interest of the entity, rather than in their own When it works, it works really well. Supportive,
best interests. They advocate for the organization interested individuals share their diverse experience and
within their broader communities. They obey legal expertise in support of a common idea. What are the best
and ethical standards in executing the mission or characteristics of a successful, functioning board, and
business operations of the entity, and they ensure the how can artists adopt those characteristics and strategies
organization does as well. for their own personal and professional growth? Read on.

3 Girly Flake]x]L*>i`"vwVi>i]nnCopyright 2015 Pippa Arend. Used by permission of the artist. 4 Make Lots of Friends, from
What You Need to Know to Survive a Year on the Streetii]x]L\i>-Vii]{5 Love You, from What You Need
to Know to Survive a Year on the Streetii]x]L\i>-Vii]{ Copyright 2015 p:ear youth. Used by permission of the artists.
6 Sign Flyers]x]L*>i`"V>>]{n Copyright 2015 Pippa Arend. Used by permission of the artist.

68 Professional Artist JUNE+JULY 2016


6
A more experienced artist whos active in the creative community
can be an ally in nudging your own practice forward. ~ Elaine Grogan Luttrull

Phase 1: The Sounding Board


of Friends
The first board of directors for p:ear
(pearmentor.org), an organization
based in Portland, Oregon that builds
positive relationships with homeless and
transitional youth through education,
art and recreation, was more like a
sounding board than a highly polished,
professional board. Thank goodness.
It was exactly what the organization
needed at the time. Board members, the
three founders and their friends,
collected small donations at their
Thanksgiving meals to pay for an hour
of an attorneys time to draft paperwork
to form the organization, and the board
members provided support and listening
as the founders framed their thoughts
for the organization.
This friends board created a safe space
for the organization to grow organically. 8
Its important to have experienced how space forged by a board of directors of friends, lessons in
to hustle, how to fail and how to manage, said Pippa failure, management and hustle wouldnt have happened.
Arend (pippaarend.com), a co-founder of p:ear and its Or, they might not have happened as effectively. These
director of development. Without a supportive, safe are the moments particularly the challenging ones
where we build confidence and reinforce the grit we need
to keep going.
Jacquie Gouveia (jgouveia.com) also appreciates the
role of a sounding board. Building confidence is huge,
she said, especially early on in an artists career. She
advises artists not only to get their work seen, but more
importantly, to get comfortable with their work being
seen. A board of friends, that is, a sounding board, can
be helpful during this process. Confidence is built in a
safe space, a space where its OK to fail and fail grandly
and miserably, where friends and supporters will help us
grow. This early phase of personal board development
is when an artist needs a sounding board of friends and
supporters, particularly an artist whos evolving from
the delightful naivet of early career bravado into more
nuanced knowledge about the industry.
This is the moment an artist begins forming a board.
Collect three peers other artists and friends who
will offer unwavering support no matter what. Begin
7

7 Irreplaceable, 2014, by Jacquie Gouveia. Acrylic on canvas, 36 x 36. Copyright 2014 Jacquie Gouveia. Used by permission of the artist.
8 Papers #1, 2015, by Erin M. Wheeler. Papers, ink, pencil, acrylic on paper, 14 x 10. Copyright 2016 Erin M. Wheeler. Used by permission of the artist.

70 Professional Artist JUNE+JULY 2016


9

meeting regularly, perhaps four times each year, and use Phase 2: The Nudging Board
the get-togethers to talk about your career. What are One of Erin Wheelers (about.me/erinmwheeler)
you working on? What tricky problem are you trying to earliest mentors was Rachel Osajima, a curator with
solve? What is one interesting thing you read recently? the Richmond Art Center (richmondartcenter.org).
Ask your peers to answer the same questions, and before Wheeler met Osajima when she was a 16-year-old high
you know it, youll have a Sounding Board of Friends. school student and pitched Osajima an idea for a show
Theyll cheer your success and support your failures, about graffiti art in the Bay Area. Osajima loved the idea
offer interesting ideas and new perspectives. Wheeler proposed and she eventually curated the graffiti
A Sounding Board of Friends is great but at some art show with Wheelers help.
point, the artist may need more. Wheeler stayed involved with the center throughout

9 Melted Like Butter, 2015, by Jacquie Gouveia. Acrylic on canvas, 36 x 36. Copyright 2015 Jacquie Gouveia. Used by permission of the artist.

ProfessionalArtistMag.com 71
There is no wrong board. There may be a mismatch between the type
of board you have and what you actually may need, but there isnt a
wrong community of support. ~ Elaine Grogan Luttrull

high school and college. Sometimes she volunteered, viability. A career in the arts felt very possible, she
sometimes she was paid, but she always learned, thanks said. It was very affirming.
in part to Osajimas mentorship. Osajima took what
Osajima is an example of the kind of board member
Wheeler describes as an incredibly hands-off approach to
who would fit perfectly on the Nudging Board the
supervision throughout her involvement with the center.
second phase of board development. The Nudging Board
She let me do a lot on my own, Wheeler said, and she
is in part a friendly supporter, a natural addition to the
was incredibly transparent about the process, whether it
Sounding Board of Friends, but it also gently nudges the
was the process of hanging a show or raising funds.
artist beyond what is safe, comfortable or easy.
Wheeler learned to manage public relations and
The original Sounding Board of Friends will always be
marketing tasks, to solicit donations, and to craft a pitch
with you, and they will always be comfortable supporters.
letter for both in-kind and monetary contributions. She
But dont forgo your own professional development for
learned that a career in the arts was within reach.
the sake of comfort. As Wheeler reiterates, its important
Wheeler recalled one trip to reinstall a work in Pasadena, to cultivate new additions to an artists community of
California. It was life changing to be in the home of support, particularly at this stage. Consider expanding
a working artist, she said. What Osajima was really your board to include additional members with certain
providing her, Wheeler now knows, were lessons in professional attributes.

0 P:ear youth working together on a sign. Copyright 2015 p:ear staff. Photo courtesy of p:ear.

72 Professional Artist JUNE+JULY 2016


More Experienced Artists Ideally, the Nudging Board members would FOR FURTHER
Wheeler loves cultivating relationships with join the quarterly get-togethers with your READING:
artists who are a few steps ahead of her Sounding Board of Friends, providing Board Roles &
on their artistic journeys. Think of this as unique perspectives and support. You may Responsibilities from the
someone who is two or three steps ahead of also find it effective to meet with these Council of Nonprofits
where you are. A more experienced artist members less frequently, say once or twice (councilofnonprofits.org/
whos active in the creative community can per year, in one-on-one meetings instead of tools-resources/board-
be an ally in nudging your own practice in a group setting. roles-and-responsibilities)
forward, particularly if that person is able to The best Nudging Board members, whether How to Build a
share information openly. This person may they bring artistic perspectives, special Board of Directors,
have a strong practice that differs from your by Tim Donnelly
skills or community connections, push you
own, so there will be less direct competition (inc.com/
ever so gently into developing further than guides/2010/10/how-
and more community engagement. Its you thought you were ready to develop.
worth noting, however, that someone who is to-build-a-board-of-
And your work, your practice and your directors.html)
too far ahead of your own practice may not professionalism grow as a result.
be able to provide tangible, useful advice, _____
except in an aspirational sense. Her advice Thrive Together
might feel less like a gentle nudge forward Building a board of directors is an exercise PHASES OF
and more like a strong shove off a cliff. in relationship-building and relationship- AN EFFECTIVE
Recruit Specific Experts
nurturing. Choose people for your own board BOARD
who understand their roles and expectations
In addition to artistic perspectives, an clearly, whether they provide artistic QPhase1: Sounding
ideal board for an organization often perspective and feedback or informal legal Board of Friends
includes at least one money person advice. Engage with those you choose regularly QPhase 2: Nudging
to handle taxes, financial matters, (not just when you need advice) through Board
budgeting, pricing and governance, while quarterly get-togethers and one-on-one QPhase
3: Competent
a legal person is a resource for intellectual coaching sessions. But stay connected between Community of Support
property questions, insurance questions, meetings as well. Share your good news, share
contract reviews, best practices and more. _____
your struggles and allow the board to evolve
Someone with experience writing grants or
performing marketing or communications
until youve found the right fit. ROLES IN AN
work is often useful as well. By including Theres no wrong board. There may be a IDEAL BOARD*
diverse perspectives not only artistic mismatch between the type of board you QThe Three-Steps-
perspectives in your core community have and what you actually may need, but Ahead Artist
of support, youll be exposed to diverse there isnt a wrong community of support, QThe Numbers Person
approaches to problem solving, unique just as there isnt a wrong approach to QThe Legal Person
perspectives, and interesting subtleties nurturing that support. Ideally, the board
QThe Social Connector
about money, management, marketing and and the individual support each others
QThe Marketing Person
the law that you might otherwise miss. needs and aspirations, helping one another
QThe Sounding Board
to grow. PA
Its also useful to include a community Friend
connector on your personal board. Elaine Grogan Luttrull, CPA, is the founder of QThe Nudging
Connectors, to borrow author Malcolm Minerva Financial Arts, a company devoted to Cheerleader
Gladwells word, are people who seem increasing the business and financial literacy
*We say ideal board
to know everyone and always have a of artists and arts organizations through
as though there is such
resource in mind. Connectors appear to be workshops, coaching, and her Starting SmART
online learning program. She is also the
a thing. Your own ideal
extroverted, and they are almost always board will complement
author of Arts & Numbers, a financial guide
happy to support showings, attend openings for creative entrepreneurs. Find her online your own skills and
and bring a friend or two. They also tend to at MinervaFinancialArts.com, and connect expertise. These are just
know plenty of people to fill whatever voids with her via Twitter (@egluttrull), Facebook a few suggestions of roles
you identify in your community of support. (MinervaFinancialArts), and LinkedIn. you might want to fill.

ProfessionalArtistMag.com 73
( without fees )

CALLS TO ARTISTS
Terrell, Charlottesville Arts executive
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for the types of installations are
left vague in order to leave the
creative interpretation open to
the artists themselves. But special
consideration, Terrell said, will be
given to submissions that complement
Charlottesville A Green City
initiative, such as those made from
environmentally sustainable materials
or methods.
In the past, jurors were particularly
drawn to sculptures modeled after
elements in nature animals or
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abstract sculptures have been chosen
too. Jurors are looking for installations
whose materials arent going to
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the pieces will be on display from
October to September 2017.
And whats in a name? Its about the
space that were putting it in. The one
thing that doesnt change year after
1 year is where the art goes, Terrell said.
Art in Place is part of an effort to
Arts Council Searches honor the space that the sculptures
are in, and to practice the notion that
public art is not just for the elite
For Art In Place spaces, Terrell said.
Artists whose work is chosen receive
BY NADA HASSANEIN Right now, theres the stark white a $1,500 honorarium to install the
marble sculpture of a polar bear that sculpture along Charlottesville

L et your sculptures embellish


the parks and roadways
of Charlottesville, Virginia.
residents would occasionally dress
up according to the season; a kinetic
roadways. Six to 10 artists will be
chosen, and the sculptures will be on
display for 11 months, starting October.
stainless steel windmill sculpture upheld
Charlottesville Arts and Piedmont Submit your resum, photos of your
at 18 feet; and mahogany whales tails
Council for the Arts call for work and artist statement to artinplace.
erupting from the ground.
submissions to their annual Art in Place org. Email info@artinplace.org with
sculpture search. Submissions are due July 1. Lindsay SWGUVKQPUQTECNN

1 Head of GoliathD[0KEQNCU*QNKDGT9QQFCPFHQWPFQDLGEVUoZoZoImage courtesy Piedmont Council for the Arts. Used by permission of the artist.

74 Professional Artist JUNE+JULY 2016


QThe listings in this section require no fees from artists submitting work. Q Always obtain a full prospectus
before entering a show. (Include a SASE when requesting one.) QPlease visit ProfessionalArtistMag.com
to submit your call to artists for print or online, and to view more opportunities.

Crary Art Gallery Exhibition Proposals


BY NADA HASSANEIN Hope Zaccagni had applied to show she took after road tripping to the
her work at the Crary Art Gallery after Cleveland Flats in Ohio. Her simple-
E xpand your audience and boost
your exposure by entering your
work into Crary Art Gallerys annual
seeing a proposal in Professional
Artists Calls to Artists. They asked me
stroke paintings are of abandoned
steel mills and industrial buildings
if I would do it in June, and I was really once bustling with life. I was always
exhibition proposal search, due May
excited about it, Zaccagni said. Her generally drawn to architectural and
31.
solo exhibition will show from June 4 industrial images, she said. Theyre
Throughout the year, the gallery gets to 25. realistically painted and have sort of an
a facelift with new selected temporary abstract quality about them because of
Zaccagnis pieces will feature a series
exhibitions, adding to the variety and the way I handle the paint.
of paintings inspired by photographs
CKTQHVJGICNNGT[
Run by dedicated volunteers and
endowments, the Crary Art Gallery
KUCPQPRTQVOWUGWOPGUVNGFKP
Northwest Pennsylvania. Established
in 1977, the picturesque museum
features a permanent collection
that includes Japanese silkscreens,
sculptures, photography and early
to mid- 20th century works. The
gallery also specializes in hosting
historical artwork collected by the late
photographer Clare Clary, for whom
the gallery is named after, and his wife,
oil painter and Pratt Institute alumna
Genevieve Clary.
Zaccagni advised that like many
galleries, Crary schedules shows a year
in advance, so when applying, artists
must keep in mind that although they
may not have the artwork for their
GZJKDKVKQPRTQRQUCNUPKUJGFVJG[ECP
usually submit work very similar to the
style of the proposal.
Who knows? You might get a call and
wind up like Zaccagni, thrilled to have
a show a one-person show is a big
deal for many artists. Visit crarygallert.
org/proposal for details.
2

2 Diamond Mens Club, 2015, by Hope Zaccagni. Oil on panel, 18 x 24. Copyright Hope Zaccagni. Used by permission of the artist.

ProfessionalArtistMag.com 75
( with fees )

CALLS TO ARTISTS
Animals In Art: Our BY ARIADNA SANTOS

Partners On The Planet D oes the animal kingdom inspire


some of your best work? Whether
its a beloved pet or an exotic sea lion,
the Smithtown Township Arts Council
encourages you to submit your work to
its upcoming exhibition, Animals in Art:
Our Partners on the Planet.
Submit your entries by June 3
all mediums are accepted, except
photography, gicle and computer-
generated art. The exhibition will take
place July 30 through Aug. 24 at the
Mills Pond House Gallery in St. James,
New York, with guest juror Tim Newton.
Awards will be up to $1,750 among the
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We dont usually have that kind of prize,
DWV+IWTGFVJCVKHYGCTGIQKPIQWV
might as well go all out, Allison Cruz,
Mills Pond House Gallery director, said.
The Smithtown Township Arts Council is a
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with the lives of residents of Long Island,
New York, by engaging the audience
3
in works of arts relevant to social issues
impacting their everyday life. The goal is
to get local citizens used to coming to art
galleries, Cruz said. The partnership with
Mills Pond Art Gallery offers opportunities
for artists to get involved in classes,
exhibitions and events with guest jurors
who share refreshing points of view. I
believe that there are some wonderful
artists that will come out of the wildwoods
with this exhibition, she said.
Artists must be at least 18 years old and
residing in the United States. Entries
must be created within the last four years
and have a focus on animals. Several
styles are accepted, including realism,
surrealism or abstraction. An entry fee of
$45 for up to three images is required.
Enter at stacarts.org. Questions? Email
artistopportunities@stacarts.org or call
4 631-862-6575.

3 4 Images courtesy of Mills Pond House Gallery.

76 Professional Artist JUNE+JULY 2016


QThe listings in this section require fees from artists submitting work QTo view more opportunities, post
your announcement on ProfessionalArtistMag.com or in print in Professional Artist magazine, visit www.
ProfessionalArtistMag.com Q For questions, call 407-563-7057.

Call For Entries: Americas All Media 2016


waterscapes, and then an enlarged,
complex view of a cancer cell its
almost as if the viewer is looking
through a microscope.
As you move through two different
images, they become sky-like, and
they begin to show sky and clouds,
Shadur said.
Shadur, a professional artist since 1975,
tends to look carefully at the criteria
of a call for entries before submitting,
making sure that her work would
resonate with the theme. When I
enter shows now, because Im later in
6 my career, I look very carefully to see
who the juror is and what the theme
BY NADA HASSANEIN Americas 2016: Paperworks exhibition. is, she said. Paperworks appealed to
Her watercolor accordion art book, her because almost all of her work is
I f you have work ready to exhibit,
made in the last two years, and just
waiting to be shown, submit to Minot
Release, was selected to be on view
at the exhibition from January 12 to
on paper but not the traditional
work on the wall.
State University Northwest Art Centers February 19, and earned a Merit Award Two entries cost $25 to submit, and
22nd Annual Americas 2016: All Media from the jury. The piece is dedicated to each additional entry is $5 each.
exhibition. Any medium is accepted Shadurs sister and brother-in-law who Submit high-resolution images of your
traditional or experimental and died from cancer, and features frames work on a CD or DVD with your entry
work is due by June 1. that tell a visual story. Beginning fee. For more details, visit minotstateu.
Watercolor and mixed media artist at a cerulean Caribbean beach, edu/nac, call 701-858-3264 or email
Beth Shadur entered into NACs the next frame zooms into abstract nac@minotstateu.edu.

5 6 Release, 2014, by Beth Shadur. Mixed media handmade artist book with black Arches paper, watercolor on watercolor paper, colored pencil, rice
paper, 5 x 50 open. Copyright Beth Shadur. Used by permission of the artist.

ProfessionalArtistMag.com 77
CALLS TO ARTISTS
( without fees ) www.crarygallery.org/ NY, Deadline Sept. 15
ONLINE GALLERY
proposal.html. Exhibitions Cazenovia College. Jen
Committee, 814-723-4523, Pepper, jpepper@cazenovia.
ARTS AND CRAFTS info@crarygallery.org, edu, www.cazenovia.edu/ Call for Fine Art Artists -
www.crarygallery.org art-gallery Global Art Exchange
SHOWS
Deadline Ongoing
Rxhibition GearBox Gallery www.global-art-exchange.
54th Halifax Art NAT, Deadline Ongoing Seeking Northern com Contact info@global-
Festival * Visit rxhibition.org. California Artists art-exchange.com
FL, Deadline Aug. 19 CA, Deadline Ongoing
Chadron State College gearboxgallery.com. Online Art Gallery
Pat Masotti-Abernathy,
Galaxy Series Contact: Jules Campbell, Deadline Ongoing
386-437-2604, pmasotti@
NE, Deadline Ongoing 510-859-5208, info@ oacgallery.com. Contact:
msn.com, www.
Contact Shellie Johns at gearboxgallery.com. Sarah Biondi, 505-842-8419,
HalifaxArtFestival.org
308-432-6380 or Sarah Polak info@oacgallery.com,
at 308-432-6401. Call for Juried Members www.oacgallery.com
The Foundry Gallery
COMPETITIONS PA, Deadline Ongoing Addiction and Art
DC, Deadline Ongoing
Gallery floor plan: bit. FoundryJury2014@aol.com. Deadline Ongoing
Artist Spotlight ly/1lvz2KO. Contact: Contact: Jill Bateman, Online gallery,
Jason Bronner, 570-484-2141, 301-452-4005, AddictionAndArt.org,
Competition
jbronner@lhup.edu, FoundryJury2014@aol.com, Direct Questions to
Deadline Ongoing
bit.ly/1i8iSCY. www.foundrygallery.org. editor@addictionandart.org
Visit ProfessionalArtistMag.
com/artistspotlight to enter. Call for Artists -
Exhibition Opportunity JURIED SHOWS & MISCELLANEOUS
CONTESTS Artevaggio GALLERY SETTINGS
GA, Deadline Ongoing
Submit to scmeeker@ Highlands Art League
Cover Contest * artevaggio.com for Great Spirits Among And The 99S 6x6 Art
NAT, Deadline Dec. 31 consideration. Us: Saints, Prophets, Show And Sale
Visit ProfessionalArtistMag. www.artevaggio.com. Holy People NAT, Deadline July 15
com/covercontest to enter. NJ, Deadline July 15 www.highlangsartleague.org.
Call for Artists Contact gallery director, 732- Ginger Adelstone, 813-264-
& Art Teachers! 322-6512, Linda LaStella at 7827, gadelstone@gmail.com.
INT, Deadline Ongoing EarthsongsCeramicStudio@
EXHIBITION http://v.youku.com/v_show/ gmail.com, www.
OPPORTUNITIES id_XOTIzMTk3NjQw.html. nailsinthewall.org PUBLISHING
Contact: Harriet Petty, OPPORTUNITIES
861-371-674-4690,
Call for 2017 Exhibit
harrietpetty@btinternet.com, JURIED SHOWS
Proposals * & OUTDOOR Call for Submissions:
en.798kids.com/index.aspx
OR, Deadline May 13 SCULPTURE Imaginations, Vol. 1 *
Rogue Community College, COMPETITIONS NAT, Deadline May 31
Heather Green 541-956-7241 GALLERIES/ Phase 5 Annual Art Review:
hgreen@roguecc.edu NONPROFIT phase5publishing.com/
www.roguecc.edu/galleries SPACES REVIEWING Public Sculpture call-for-submissions.
PORTFOLIOS Project * 828-581-9452 submissions@
Exhibition Proposals - VA, Deadline July 1 phase5publishing.com.
Crary Art Gallery * Public Art Committee,
PA, Deadline May 31 Open Call to Artists & PSP@fredarts.com Call for Submissions:
Crary Art Gallery. Designers 2-D, 3-D, 4-D www.fredarts.com/sculpture Scapes, An Art

78 Professional Artist JUNE+JULY 2016


STANDARDS AND ABBREVIATIONS = new listing since last month | = changed or corrected listing
* **
2D = two-dimensional, i.e. drawings | 3D = three-dimensional, i.e. sculpture | SASE = self-addressed, stamped #10 (business) envelope

Anthology * stacarts.org, 631-862-6575, www.silvermineart.org/art/ Send a SASE to Gallery 510,


NAT, Deadline June 30 artistopportunities@stacarts. call-for-entries.php 160 E. Main St., Decatur,
Phase 5 Publishing. org, www.stacarts.org/exhibits IL 62523 or Email: info@
www.phase5publishing.com/ 31st Annual Watercolor gallery510.org or visit www.
call-for-submissions, Contact: Favell Museum Juried Wyoming National gallery510.org. Contact: 217-
828-581-9452, submissions@ Art Show & Sale 2016 * Exhibition * 422-1509, info@gallery510.org
phase5publishing.com OR, Deadline May 13 WY, Deadline June 3
Cost: $40.00. Prospectus Wyoming Watercolor Society 47th Annual River
Publication in & application: www. Contact: Karen Myers at Road Show *
Malaysian Journal of favellmuseum.org/call-for- 307-751-6411, karenmyers22@ LA, Deadline July 13
Performing and Visual artists. Favell Museum, gmail.com, www Louisiana Art and Artists
Arts (Asian Arts) * 541-882-9996, wyomingwatercolorsociety. Guild. $40 for first 3 entries
INT, Deadline June 30 favellmuseum@gmail.com com (maximum 10), www.laag-site.
e-journal.um.edu.my/publish/ www.favellmuseum.org org/River-Road-Show, Claudia
MJPVA., info.mjpva@um.edu. Juried Fine Art Exhibit * LeJeune, 225-292-2004, rrs@
my. Contact: Dr. Ghulam Shapes of Influence NY, Deadline June 3 laag-site.org
Sarwar Yousof, Chief Ed, 2016 * Smithtown Township Arts
gsyousof@hotmail.com. Council. Entry fee $45 for 6th Annual Pinnacle
IL, Deadline May 15
Springfield Art Association, up to 3 images. Prospectus National Juried Art
$30 application fee. Apply at at www.stacarts.org/exhibits/ Competition and
( with fees ) www.callforentry.org, search show/96. Contact: Allison Exhibition *
by Shapes of Influence. Cruz at 631-862-6575 FL, Deadline July 29
artistopportunities@stacarts. Florida A&M University
Contact: Betsy Dollar,
JURIED SHOWS, 217-523-2631, director@
org Foster-Tanner Fine Arts
GALLERY SETTINGS springfieldart.org, Gallery Contact: 850-599-8755,
7th Annual Nature & fostertannergallery@famu.edu,
www.springfieldart.org
Wildlife Exhibition * www.famu.edu/index.cfm?V
36th International FL, Deadline June 6 isualArts&FosterTannerFine
Fredericksburg
Exhibition * St. Augustine Art Association. ArtsGallery
Center For Creative
CA, Deadline May 6 Entry fee: $45/3images.
Arts National Juried
San Diego Watercolor Apply online/download The Nude Figure *
Society, Entry Fee $35 for
Exhibition * prospectus at www.staaa.org. PA, Deadline Sept. 9
members, $45 for VA, Deadline May 20 Contact: Diane Bradley, 904- Wayne Art Center. $40 for up
non-members. www.sdws.org. Focus on Color. Entry fee: 824-2310, dianebradley@ to three entries. Online entry
Contact: ishowinformation@ $25/1st, $5/each addl; FCCA staaa.org at www.waynefigureentry.
sdws.org. Direct link to Members $20/1st, $5/each org. Karen Louise Fay,
prospectus: www.sdws.org/ addl. Download prospectus 48th Annual Watercolor 610-688-3553 ext. 211,
userfiles/file/Prospectus from www.fccava.org. West International karenlouise@wayneart.org,
%202016%20I%20Show%20 Contract: Ms. Carrol Morgan, Juried Exhibition * www.waynefigureentry.org,
Final.pdf, ishowinformation@ curator-frederick-gallery@ CA, Deadline June 22 www.wayneart.org.
sdws.org fccava.org, 540-760-6928 Entry Fee for 2 entries
$45 for Members, $55 for
Juried Fine Art Exhibit - 66th Annual Art of the Non-Members. Visit www. WORKSHOPS
Of a Botanical Nature * Northeast Exhibition * watercolorwest.org on
NY, Deadline May 12 NAT, Deadline May 27 April 1st for prospectus
Smithtown Township Arts Entry fee is $40 for 10 and details. Contact: Julie Philip Frey: Plein Air
Council, $45/3 entries. entries. Prospectus: www. Crouch, 818-790-0723, Painting Workshops
Prospectus at www.stacarts. silvermineart.org/art/call-for- juliecrouchart@gmail.com In Bar Harbor and
org/exhibits or email entries.php. Contact: Barbara Castine, Maine *
gallery@stacarts.org. 660 Linarducci: 203-966-9700 Call for Artists! * ME, Deadline May 17
Route 25A, St. James, NY ext. 26, guildadmin@ IL, Deadline July 9 Philip Frey: philip@philipfrey.
11780. Contact: gallery@ silvermineart.org. Gallery 510. For prospectus: com, philipfrey.com

ProfessionalArtistMag.com 79
the ARTREPRENEUR coach
By Rene Phillips

Its Time to Mature Into a Self-Sufcient Artist


W
hen artists come to me offered me a job to paint fabric. She successful line of hand-painted
for art marketing advice, rolled out long bolts of silks and Renes Originals which I sold in
they have already achieved cottons on a table, and I painted several boutiques. The apparel drove
some professional success; however, colorful flowers and butterflies on traffic to my studio where I sold my
they want to take their careers to the them. I also painted entire ensembles paintings. As my business knowledge
next level. Most often, they want to from hats to gowns to shoes. grew, I became a self-supporting
become financially independent, artist. I began teaching fellow artists
My work area was a hot, crowded
full-time artists. how to succeed in business and
room in the back of this posh
began organizing exhibitions.
The first question I ask is: What are boutique. After my work was
your creative, career and financial completed, the designer sewed them Now, I teach artists how to create
goals? Most artists have clear into garments and signed her name art business plans and accomplish
objectives about what they hope on them. I overheard her speaking to their goals. The artists who combine
to achieve in their creative goals. clients in the front of the showroom, their love for creating art with a
Their career goals may only need taking credit for the painting I did. positive attitude forge their own
some fine tuning. When it comes to Many customers bought her apparel paths to rewarding careers. When
financial goals they are often either because of my artwork. At first my they take care of business they
non-existent or fuzzy at best. And ego felt bruised, and I was tempted gain confidence and creative
when I ask if they have an art business to quit. You may wonder, why didnt independence. Its that simple.
plan? The response is either a groan I? The truth is, the money I earned
Choose to be a victor, not a victim.
or silence. for one days work paid for an entire
Reject the myth that artists cannot
months rent in my studio, where I had
The notion of creating an art business be business people. Take advantage
the freedom to create the paintings I
plan produces sensations of being of the many art business books and
desired for the rest of the week.
tortured by tedious facts and figures. webinars for artists who want to learn
Yet it does require facing fears and Im glad I didnt quit because that more about the business of being an
failures. It also takes time away from summer job taught me an invaluable artist. Find mentors and role models
making art. Its no wonder artists feel lesson that changed my perception as that have something valuable to
like victims in an unfair profession. an artist. I suddenly realized I had to teach you. Read the biographies of
Some artists would rather face the stop being a victim. Although I didnt successful artists.
possibility of a failed career than take appreciate my boss dishonesty,
Allow yourself time and patience to
the time to create a solid business instead of seeing her as an adversary,
grow as your own agent and CEO
foundation. I decided to view her as my mentor.
of your business. Art business habits
This was an opportunity to learn.
Ive been there. Early in my career, require baby steps at first, but when
From then on, I went to work with
I was nave, and assumed all I had you reap the benefits you will want to
a hunger for knowledge. While I
to do was create art and I would be take on greater challenges. As Helen
painted on fabric I asked my boss
discovered. I would exclaim, I dont Keller said, One can never consent
questions about how she started
want to handle the business part! I to creep when one feels an impulse
her career and became a successful
just want to create art! Although at to soar. PA
business owner.
first I was unable to support myself
from the sale of my paintings, I In this boutique I took my first steps Rene Phillips is founder/director
refused to accept business advice from immaturity to self-sufficiency. of Manhattan Arts International,
www.manhattanarts.com, which promotes
and had no plan in mind for success. This experience taught me how
artistic excellence through curated art
to become the CEO of my own programs and online exhibitions. As The
Thankfully, with the help of an
business. I learned the importance of Artrepreneur Coach, she helps artists
unpleasant part-time summer job,
setting creative, career and financial attain their goals through consultations,
I gained an improved sense of
goals with short-term and long-term coaching, and art-business articles
reality and maturity. My boss was an available on www.renee-phillips.com.
objectives. I designed my first art
established fashion designer in The She is also the founder/editor of The
business plan.
Hamptons, New York, whose clients Healing Power of ART & ARTISTS,
were celebrities and socialites. She A few months later, I had my own www.healing-power-of-art.org.

80 Professional Artist JUNE+JULY 2016


Professional Artist is celebrating three
decades as the foremost business magazine
for visual artists! To mark this exciting
milestone, we want you our loyal, talented
fans and readers to show us what youve got
by entering your best artwork in our
30th Anniversary Celebration Cover Contest.
One lucky winners masterpiece will be
featured on the cover of Professional Artists
April/May 2017 issue, so get your creative
groove on now for your chance to win!

DEADLINE: Dec. 31, 2016

Enter now at ProfessionalArtistMag.com/CoverContest