3rd Language is a Chicago-based collective of artists and thinkers exploring and embracing difference, otherness and transgression. They name this otherness and transgression "queer." Jeff Oaks, CAR’s literary researcher, and Andi Crist, CAR’s visual arts researcher interviewed them to find out more about their mission.
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.
Whitney Carter opened Carter & Citizen in September 2011 in the Culver City arts district of Los Angeles.
We're artists. We paint, dance, act, strum, perform and write. But are we (even you, authors) masters of writing about what we do? Not always. Still, the world expects us to spell out the our ideas and goals in order to score the grants, residencies and jobs we need. The Edit is a look at artists' statements, bios, cover letters and the editorial process that shapes them into more persuasive arguments for one's practice.
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.
This panel discussed the emergence of new ways to engage audiences in artworks through customized exhibitions and avenues for visitor participation. Panelists considered in depth the implications of audience expectations that are increasingly driven by popular culture and informed by widespread use of social media.
Often the artists who say they have a “studio” here simply have their name on one of the hundreds of shelves that line the ceramics wing. “But we like that,” Robbins assures me. “We want everyone to feel like they have a place to work and feel like part of the family here.”
As makers, we should all be inspired to lend some time and resources to support our colleagues in their own practices and confront the needs of the neighborhoods that we work in. South Logan Arts Coalition has done just this.
Visual Arts Researcher Andi Crist is moving around the city reporting on and engaging with local artists, arts administrators and advocates to expand our understanding of the visual arts landscape in Chicago.
In the spring of 2013, The Emily Hall Tremaine Foundation convened former recipients of its Exhibition Award—given since 1998 to support the work of innovative curators—and other experts for a facilitated conversation on the impact of experimentation and customization in the field.
Since opening its studio, Ignite has worked to expand awareness of the glass arts to creative communities in Chicago. Ignite currently offers public-access studio hours and classes for independent artists; after-school programs with Chicago Public Schools; and community appreciation through the rental of its event space.
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.