The key to a good artist statement is to dig into what the work is about. Perhaps calling an essay an "artist statement" is misleading, as artists generally seem to think it should be about them. Your artist statement should be a statement by the artist and about the work.
Copyright law can be confusing, especially with the abundance of misinformation circulated. In a perfect world, artists, art dealers, art lovers, and everyone else in the art community would live in harmony and there would never be any conflicts. Unfortunately disagreements do arise.
Budgets, work samples and artist statements haunt our efforts to get the free grant money we so richly deserve. CAR sat down with Allyson Esposito, Director of the Cultural Grants Program at DCASE, and herself a dancer, to give us some straight answers on how to calculate a budget, prep a portfolio and write a statement.
Garneau works in so many media and has so many interests that one artist statement will never quite capture her work. We'll develop a customizable model: a base statement that satisfies the core criteria of her interests, and room to slot in a specific work example that reinforces the base.
Copyright law can be confusing, especially with the abundance of misinformation circulated. In a perfect world, artists, art dealers, art lovers and everyone else in the art community would live in harmony and there would never be any conflicts. Unfortunately disagreements do arise. Therefore, in the event of a copyright conflict, artists should be aware of what their rights are. This series of articles will explain, generally, the basics of copyright law for artists.
In a perfect world, artists, art dealers, art lovers and everyone else in the art community would live in harmony and there would never be any conflicts. Unfortunately disagreements do arise. Therefore, in the event of a copyright conflict, artists should be aware of what their rights are. This article will explain, generally, the basics of copyright law for artists.
The Chicago Artists Coalition hosted Moving Canvas, a program of Audience Architects. This collaborative endeavor joins performing artists, visual artists and audiences to attract new participants and explore the possibilities of interdisciplinary collaboration.
Dance Researcher Victoria Bradford is embedded in the Chicago dance and performance scene for the Fall of 2013 to engage with local dance enthusiasts, dance artists, and dance companies.
I put myself in the mindset of baking. My art-making and design work are the cake, the foundation. They take the majority of my time and energy. Social media is the icing that lends a voice to what I do—just enough but not overpowering.
It’s really important to decide which project pursue from all the projects an artist might be working on. Be very careful in choosing your project. Make sure there’s a good correspondence there. One of the ways to figure that out is to look at whom else they’ve funded.
"Collaboration is a quality-of-life issue. It becomes an act of hospitality and generosity, an idea that what you do ultimately permeates everything that you are" ..."And we are all in that same community: We’re creative, and we’re working with our hands."
As an artist, spending money on non-essentials is a difficult concept to get behind. When you’re struggling to make rent, putting money into an abstract project is hard to justify. Why should you put money toward something that might help you when you can pay for something that you need to do now.
Setting a base price is difficult enough: You have to assess the state of the market, your relationships with potential collectors, your sales and exhibition/performance history, your volume of output and perceived demand. Then comes a patron. You "run the numbers" which, for most creatives, means you worry about it for a while. A number floats into focus.
Learn from venue and festival talent buyers directly as they demystify the booking process. Hear first-hand what they look for in a booking submission, and how booking decisions are made.
Insights into how artists can use radio (both locally and nationally) to help their work and ideas reach a larger audience.
Every creative person builds creative content. Learn about protecting that creative content through copyright, trademark, right of publicity, patent, and trade secrets. Also, what happens after protecting the content, specifically, licensing rights to and from other parties and enforcing rights against other parties.
An introduction to USAprojects.org, a non-profit site built exclusively to help artists fund their projects (almost $4 million in 3 years).
So much of an artist’s access to exhibitions, grants, and residencies begins with proposals. Learn basic time management, organizational skills, the components of a successful proposal, and useful virtual tools.
Prepare for creative careers in today's job market. We will discuss cutting edge practices for developing resumes, written materials, and online portfolios, as well as strategies for finding jobs and building networks to support and develop career paths.