Nothing to See/Hear is a love story about two women and their unraveling relationship. As the estranged couple poses in a portrait studio, each reflects on their former intimacy. The story is set to the bittersweet track A True Story of a Story of True Love by The Books.
Due to the unconventional nature of the creative hobby business, it is often difficult to determine the best way to account for profits and losses on tax returns. When tax season comes around artists often discover they spent more money on materials and equipment than they made in income, so they show a loss for their creative venture to offset their normal employment income.
The interdisciplinary performance "3 Singers Opera" explores the female body’s relationship with machinery, particularly with the labor, production and policies of the textile industry.
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.
I wanted to create something dance-able. This hook tends to lend itself to that. Besides, it’s simply more fun setting something to a four-on-the-floor beat.
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.
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.
Based in New York, Fractured Atlas provides services to artists across the nation that lower the barriers to creating artwork. Yet one of their most well known services, fiscal sponsorship, remains a hazy concept for many individual artists.
The task remains for all of us as Americans to emerge from our psychic amnesia surrounding the unresolved legacy of slavery, and on a mass level finally admit that the ongoing conundrum between blacks and whites is a direct result of the overwhelming need for the healing of our shared former atrocity.
How can you maximize publicity and marketing with limited resources? Dynamic industry leaders explore how collaborative marketing efforts and yield bigger audiences with no increase to the budget.
Dawn Gray (President, Gray Talent Group) and Matthew Miller (Associate Casting Director, Paskal Rudnicke) weigh in on headshots, agents, and leaving Chicago for the coasts.
When Richard Florida took the mainstage at last year's Americans for the Arts conference in Portland, Oregon, the woman next to me—we had never met—leaned in with an immediate response. "Hubba-hubba," she murmured in my direction. The Carnegie-Mellon University professor of economic development had come a long way since the publication of The Rise of the Creative Class in June 2002.
Now that Richard Florida has moved on from the “rise” of the creative class to the “flight” of the creative class, the cultural sector is left with the question: are we better off today than before he re-classified us?