Welcome to Sculpture I

Welcome to Sculpture I
Enjoy the links. This research will help you understand more about your projects, and provide inspiration for pushing your ideas beyond the expected.

Often after class I will have some ideas to help solve a challenge, or I will post some pertinent research.

I use this blog to post observations and direction, so check it on Tuesday and Thursday mornings.

very good examples of opening lines for artist's statements

To read the full artist statement go to the Alchemy on-line exhibition of sculptue and click on the pictures.

http://www.harn.ufl.edu/alchemy/

My practice is characterized by the Industrial Revolution of the 18th and 19th century when major changes in agriculture, manufacturing, production, and transportation had a profound effect on the socioeconomic and cultural conditions.

Bruce Taylor

Canadian, b. 1958

My current work explores issues of individual identity in the sociopolitical context of the western society.

Ivan Albrecht

Serbian, b. 1970

There is a long tradition in art, literature, and film by which the act of war is venerated and integrated into the social fabric. Gore and terror of combat are transformed into a bittersweet adventure of shared courage, sacrifice and nobility.

Pavel Amromin

American, b. 1977 in Belarus

My artwork explores built space and the idea that manmade landscapes express a society’s material and political priorities.

Dylan Beck

American, b. 1980

My work focuses on simple abstract form. I am fascinated by the associations we make as we interpret the world around us, and it is my hope to create objects with a broad and ambiguous reference; forms that are perplexing due to their many allusions

Sally Brogden

American, b. 1963

I am particularly interested in the anatomical and botanical images rendered on the cusp of modern western history. Seventeenth century scientist/illustrators such as Marcello Malpighi and Jan Swammerdam were pioneers in using simple microscopes to explore below the surface of life forms.

Karen Gunderman

American, b. 1951

My sculptures combine Rococo decoration with icons from popular culture.

Beth Katleman

American, b. 1959

Storytelling connects us to one another and explains who we are. In an age in which the individual is often alienated, my work attempts to cut through the isolation by presenting common threads of the human experience

Kirsten Stingle

American, b. 1970

My ideas are a by-product of living. My work in ceramic sculpture has been consistently figurative, with an emphasis on the human condition and/or situation.

Verne Funk

American, b. 1932

I am persistently moved to find beauty in the ragged edges of humanity

Caitlin Applegate

American, b. 1978

I am interested in subtleties – the play of cast light and shadow, a lilting edge, a jewel-like pool of glaze collected in a shallow dip. Such treasures reside on the periphery of our attention.

Autumn Cipala

American, b. 1973

The lure of porcelain has always been powerful, sparking dreams in consumers and makers alike. Seventeenth century Europeans also developed "Chinoiserie," a sort of ersatz "Chinese-esque" set of motifs based more on what Europeans thought Chinese decoration should look like, rather than what it actually looked like. The Chinese responded in kind, creating their own "authentic" Chinoiserie geared for export rather than domestic consumption.

Garth Johnson

American, b. 1973

Ersatz is an artificial substitute differing in kind from and inferior in quality to what it replaces.

some professional advice

It is important to popularize and add value to your work by building a reputation for yourself. Showing a commitment to the art community makes collectors more comfortable "investing" in your work. It establishes a value $ for your work. "Investing" means more than buying, it can take the form of providing you with materials or paid residencies, grants, monetary prizes and the like.

Art "community" is whatever crowd your work appeals to. There is no one art "community"

This effort to self-promote on your part is necessary and sometimes more important than the work itself. (scary, I know)

Some links for you.

https://www.callforentry.org/index.php

When on a page, read the "about us" for more links to opportunities to build a cv (curriculum vitae).

Bookmark all these links into a folder. Register for these sites and create a new e-mail account for just submissions to help organize your administrative efforts.

Art publishers

local magazine

http://www.arbus.com/

More

http://www.larkcrafts.com/submit/calls-for-submissions/

http://www.newamericanpaintings.com/

http://artjournal.collegeart.org/?page_id=71

Go to the library and write down the names of publications and book publishers, go to their website and look for submission guidelines, follow them precisely or they get tossed out.

Art video world catalog, a good resource for educators and tutorials for working artists

http://www.artvideoworld.com/avw_catalog.html

Something about galleries and dealers:

With the gallery that expects 50%, have an effective conversation that includes this:

"From what I have been told, the marketing and costs associated with selling the work falls entirely on the gallery. Preparing the walls, hanging exhibited work, insuring it, and de-installing the work is also the responsibility of the gallery".

"I will be happy to speak at any openings/closings and speak with collectors who have questions about my work".

"Because of the gallery's experience setting realistic prices, any discounts given will come out of the gallery's cut"

Note: If a client wants to have the work on a trial basis, one week is maximum, it is the gallery's responsibility to transport that work to the potential buyer.

If a commission is obtained through the gallery, meet with the client at their home/business to talk about it, don't let the gallerist art direct as a liason between you and the client. You need to hear their expectations/concerns directly.

If you can't say these words face to face, say "I'll get back to you on that", and e-mail it. Learn to write in an emotionally neutral format. Be concise. Have someone else proof read it.

Something you may want to consider after graduation is forming or joining a cooperative studio. Here is an example of one

http://bigumbrellastudios.com/

in Jacksonville

http://tacjacksonville.org/

Because the economy is bad, there are empty buildings everywhere, you can often work in a group effort to use the space until it sells. Call the real estate company's name on the door and say, "that building could use some life and visibility, to be an active space when potential buyers come through. I have a group of Flagler artists who would liven it up by using it as a cooperative studio, and host open houses to show our work...." "We realize the opportunity ends if the building sells or is leased".

I hope this is helpful, Angela