I have found that the reality of being an emerging artist differs somewhat from the intense cosmology that is often fed to and proliferated by students. While everyone knows someone-who-knows-someone who's had that "big break" right out of school, the likelihood is that you will have to do some work to get where you are going. If you have found this article, you most likely already know this.
Artists in Conversation:
I believe that opportunities can come from both calamity and banality. When I work, my aim is to arouse the creative aptitude of my audience and collaborators through directness and humor. For example, I play the role of an artist who is driven to make something that is bound to be a huge disaster. A documentary video tells the story of this artist who attempts to build a catapult that will allow fellow artists to dispose of their artwork and ideally come to terms with their useless constructions. In this situation, I am the passionate, reckless artist who has devised a grand scheme.
Just getting out of the studio to spend a few minutes on sending out email was a chore and was not really considered as a useful networking tool at the time.
Being your own P.R. rep. is a somewhat terrifying experience for a shy artist.
What is interesting about collaborating is the creation of a shared language.
The beginning of my international career in art was established in the 80's at the Rekwizytornia (The Property Room) Gallery, at the Contemporary Theatre in Wroclaw/Poland.
It has always been difficult for me to be accepted by mainstream artists, galleries and museums.
Creating an artist's lecture about one's own work can be an immensely fulfilling but it can be nerve-wracking too.
For me, to be an artist is an intellectual choice and a carefully chosen commitment.
This is a fair question, but I'll admit: I've always winced at the word "career."
In 1998, while visiting the countryside in The Netherlands, a friend pointed out that-counter to the laws of gravity-the water canals surrounding the fields on which we stood were actually flowing up a very slight incline. These waterways are, in fact, part of an old artificial hydraulic system of drainage and containment that has kept Holland above sea level.
Originally from Chicago, my dream was to live in New York. I was obsessed with its vibrancy, energy and creativity.
With absolute conviction I believe and practice Ad Reinhardt's thesis put forth in "Extreme Routine."
I was born in Iraq on June 10, 1966. Because a member of my family had been accused of disloyalty to my country, I was denied the opportunity to pursue my dream of becoming an artist.
In spite of what seems to be an acceptance of diversity as a cultural and social fact of life, both in and outside of the art world, black artists are, for the most part, still largely consigned to a narrow conceptual space in which to operate.
I began showing my work in the late 1950s by participating in competitive museum shows and invitationals in college galleries and similar venues. I didn't have a solo gallery show until 1974. I suppose that was due to youthful shyness but it was also due to the scarcity of galleries and to the refusal by gallerists to sign on artists who had not yet compiled an impressive and sustained track record.
When you are working in large scale public sculpture, a support group becomes one of your most useful tools - like a smooth, hot welder or your favorite hammer and chisel. Chicago has had a really strong sculpture community for years, but it's been only since 2004 that we set it in concrete by establishing Chicago Sculpture International (CSI), a satellite organization of the International Sculpture Center (ISC).
A pair of oars slips into the water. My son and I face each other. The lake is at least 20 feet deep, and my heart sinks. Fortunately, the wind was blowing in our favor. It pushed us towards the shore, and yes, not far behind were the oars. We were both relieved.
As a teacher of photography (who firmly believes in beginning with the black and white darkroom) it has been interesting for me to see the speed at which this medium has evolved in these past few years. Digital technologies have changed some aspects of older two-dimensional art mediums (painting, drawing, printmaking) and have introduced newer media forms into the art world. For some photographers, however, it has totally redefined the input and output of imagery.