Now that I have been working on selling my artwork as well as my new small business of doing charcoal portraits I have really found how important it is to have a good advertisement. (And this might have something to do with the fact that I've been watching a lot of Mad Men recently)
Advertising can be an art form, it can also just simply be a tool to attract attention. Today for some reason it appears that advertising has lost it's main beauty and has succumb to simple-minded, sexist, or shocking approaches. Now, I'm not as obsessed with reading about specific tropes as some, but I can notice one when I see one, and since they seem to be repeated often, it's getting a little redundant. Now watching Mad Men has shown me that advertising was a little more competitive as it is today or at least in the creative aspects. Today's ideas don't seem as unique or original.
Now how does this relate to artists trying to sell our work or small business? We need to be better and more creative than those mainstream and overly done ads we see all the time.
1) Find something to make you stand out and that is unique to only you. Search the internet to see who else has your ideas and how yours is different.
2) Have your design be crisp and clean. You don't need to compensate because you are what you are and some people will love it and others won't, that's just life. Plus you don't want to confuse the consumer, let your work and words speak for themselves.
3) Know who your audience is. If you have mainly older people who want to buy your work then use slogans and words that they pick up on.
4) You are the best, act like you're the best. Don't make a cheap design, use a new and powerful one. It's like the whole "dress like you have your future/aspiring job" idea except with advertising.
5) But, don't push your ego. You may be the best, but don't put down others that are trying just as hard as you are. Like I mentioned before, they might have a different audience, people that like your work might not like theirs anyways.
6) Use your work but don't force-feed it to the viewer. Make them want more.
You are an artist, you already think differently than those around you and will be able to think out of the box. Take your time and when you have the perfect idea you will know it. You can also find a group or test your work out on friends and ask them what they think. Don't forget that critiques are always welcome. Another great idea is to look back at previous artists or advertisements that really stand out (Henri Toulouse-Lautrec, or watch an episode of Mad Men when they are creating an ad, GEICO ads are actually pretty great too). Now don't copy what they do but get inspired and get your creative juices flowing from seeing some great work.
Check out this website to see what tropes there are and what you see often: tvtropes.org
There is more to come about this subject and some great artists that can inspire your work.
Friday, June 13, 2014
Friday, June 6, 2014
AFTER GRADUATING... NOW WHAT?
I know I normally stick to posts that can interest non-students as well as students, but for this one I will be talking to people who have recently graduated, or will be graduating. I have recently graduated with my BA in Studio Art. And even though the last year has been filled with what to do in the real world and how to sell your work and how to be professional, I keep finding myself looking around at my fellow students and thinking 'what the hell are we supposed to do now?' (sidenote: I'm going to stick to my art friends and not broaden into everyone that I know that has graduated, since after all, this is an art blog).
So, we went from having a studio space, being productive and creating pieces for a final show, writing artist statements, reading about how to sell our works to sitting in our parents home with part-time jobs that have no relation to being an artist at all. Now, I know people from previous years that went on to work for Photo Magazines, Photo Portrait Studios, moving to India, etc. But still what the hell are we supposed to do? How can we move into the real work without losing some of the drive we had in school? I guess that's apart of it though, some people move on and never continue their careers they chose for themselves in college. My thoughts? If you were passionate about it to begin with, and it wasn't some sort of easy way out or fun for the time being sort of thing, then you will be dying to make creating your work apart of your career. Now how to go about doing that? I'm not fully sure yet.
As an artist, and former art student, all I want to do is create and somehow have magical money come out of it that I can live off of. So personally, things I am going to look into is my local Art Community/Organization (which some cities they take the summer off so try in the Fall) and I am going to start taking in commissioned work. Which I guess is a perfect way to mention that I will be adding onto the Art Otter name. Within a few months I will be adding a 'store' where anyone can have a drawn portrait made. I know there are a lot of people that already do this, but I assure you unlike some other people, these portraits will have my full attention, I love portraiture, some say I'm obsessed, it's what I love and I want to continue creating them so why not? If you are interested or want to know more I will add a post shortly with information.
Now that I am doing slightly broadcasting myself. If you are a someone who just graduated with a Studio Art degree and don't want to find yourself comfortable in a part-time job and aren't yet ready to go to Grad School then find a way to still spend time creating. Make it apart of your life and don't let yourself forget about what you are passionate about. Even if you attend local drawing seminars or beg your friends to go to a painting class with you or even set up shop in your apartment or house somewhere, just keep going. Don't stop until you have found your happy medium with work and passion.
If anyone has any other advice, it would be GLADLY appreciated so don't be afraid to comment. (and don't forget you can comment anonymously and it won't be tracked to you at all so really there is nothing to lose)
So, we went from having a studio space, being productive and creating pieces for a final show, writing artist statements, reading about how to sell our works to sitting in our parents home with part-time jobs that have no relation to being an artist at all. Now, I know people from previous years that went on to work for Photo Magazines, Photo Portrait Studios, moving to India, etc. But still what the hell are we supposed to do? How can we move into the real work without losing some of the drive we had in school? I guess that's apart of it though, some people move on and never continue their careers they chose for themselves in college. My thoughts? If you were passionate about it to begin with, and it wasn't some sort of easy way out or fun for the time being sort of thing, then you will be dying to make creating your work apart of your career. Now how to go about doing that? I'm not fully sure yet.
As an artist, and former art student, all I want to do is create and somehow have magical money come out of it that I can live off of. So personally, things I am going to look into is my local Art Community/Organization (which some cities they take the summer off so try in the Fall) and I am going to start taking in commissioned work. Which I guess is a perfect way to mention that I will be adding onto the Art Otter name. Within a few months I will be adding a 'store' where anyone can have a drawn portrait made. I know there are a lot of people that already do this, but I assure you unlike some other people, these portraits will have my full attention, I love portraiture, some say I'm obsessed, it's what I love and I want to continue creating them so why not? If you are interested or want to know more I will add a post shortly with information.
Now that I am doing slightly broadcasting myself. If you are a someone who just graduated with a Studio Art degree and don't want to find yourself comfortable in a part-time job and aren't yet ready to go to Grad School then find a way to still spend time creating. Make it apart of your life and don't let yourself forget about what you are passionate about. Even if you attend local drawing seminars or beg your friends to go to a painting class with you or even set up shop in your apartment or house somewhere, just keep going. Don't stop until you have found your happy medium with work and passion.
If anyone has any other advice, it would be GLADLY appreciated so don't be afraid to comment. (and don't forget you can comment anonymously and it won't be tracked to you at all so really there is nothing to lose)
Thursday, May 22, 2014
SELFIES VS SELF PORTRAITS
Now that I'm back, at least for a little, let's talk about something very prominent in conversations today: selfies.
The idea of a selfie isn't exactly new, it's just mainstreamed so much recently that we feel like it is new. Technology today is literally programmed to take selfies, I mean what else would a front facing camera on your phone do besides take pictures of yourself? But before we had cameras selfies were still relevant. A self portrait is the artistic term for selfie, so let's think back to some of the more aesthetically pleasing selfies...
Even though self portraits date back to some of the earliest pieces of art, they became more prominent during the Early Renaissance. This was during the mid-15th century, when mirrors became cheap enough for most people to buy. One of the earliest self portraits is thought to be by Jan Van Eyck's Portrait of a Man in a Turban painted in 1433. Even though it cannot be proven that it is a self portrait.
Sometimes artists when they would paint mythical or religious scenes would put commoners' faces or their own in as some of the many background people. If you think about this in a Contemporary manner, they are in a way Photoshopping a selfie of themselves into an image of their favorite story, which is really quite humorous.
The first prolific self-portraitist, or selfie obsessed artist was Albrecht Durer. His most well known self portrait being his Christ-like selfie when he was 28.
However one of the most well known artists to create numerous self portraits was Vincent van Gogh. Vincent created over 35 self portraits in his time, many after he cut off his ear. One of my personal favorites it this self portrait:
In a way these self portraits/selfies are very important in the development of artists over time not only because it is a way to work with a cheaper model but also because it shows their specific style as well as show their face (when most people are generally not aware of what artists actually look like but just know them by their name and most famous works). Artists can go on without anyone knowing who they are, which is good and bad. They should be recognized for their beautiful pieces and the viewers should be aware that a person did it instead of some anonymous artistic machine.
I've always had a personal interest in self portraits and find it very intriguing how artists portray themselves. I suggest looking up artists and seeing if they have self-portraits, most Contemporary artists don't seem to do selfies (which is ironic) but many 18th Century and the centuries preceding have many artists that do.
I'm curious as to what other people think and why Contemporary artists don't create as many selfies as before, let me know by leaving a comment or tweeting at me!!
The idea of a selfie isn't exactly new, it's just mainstreamed so much recently that we feel like it is new. Technology today is literally programmed to take selfies, I mean what else would a front facing camera on your phone do besides take pictures of yourself? But before we had cameras selfies were still relevant. A self portrait is the artistic term for selfie, so let's think back to some of the more aesthetically pleasing selfies...
Even though self portraits date back to some of the earliest pieces of art, they became more prominent during the Early Renaissance. This was during the mid-15th century, when mirrors became cheap enough for most people to buy. One of the earliest self portraits is thought to be by Jan Van Eyck's Portrait of a Man in a Turban painted in 1433. Even though it cannot be proven that it is a self portrait.
 |
| Jan Van Eyck, Portrait of a Man in a Turban, 1433, oil on panel, National Gallery, London |
The first prolific self-portraitist, or selfie obsessed artist was Albrecht Durer. His most well known self portrait being his Christ-like selfie when he was 28.
 |
| Albrecht Durer, Self Portrait in a Fur-Collared Robe, 1500, oil on linden wood, Alte Pinakothek |
 | |
| Vincent van Gogh, Self-Portrait, 1890, oil on canvas, Musee D'Orsay, Paris |
I've always had a personal interest in self portraits and find it very intriguing how artists portray themselves. I suggest looking up artists and seeing if they have self-portraits, most Contemporary artists don't seem to do selfies (which is ironic) but many 18th Century and the centuries preceding have many artists that do.
I'm curious as to what other people think and why Contemporary artists don't create as many selfies as before, let me know by leaving a comment or tweeting at me!!
Tuesday, April 15, 2014
OFF DAY BLOGGING: UPDATE
Hey Otters!
I won't be able to post much this week or the next week because of all of my research papers, thesis work/paper, and more papers are due. It's the final stretch so I can't focus on anything else at the moment except for finishing everything to the quality I've been working towards my entire career here. In the mean time, I'll be on Twitter tweeting Art News and other things. If you have any requests or comments, now is the time!! But don't worry I'll be back with full force soon enough! In the mean time here's an otter I saw in the Smithsonian National History Museum in Washington D.C. a while back! So cute!
I won't be able to post much this week or the next week because of all of my research papers, thesis work/paper, and more papers are due. It's the final stretch so I can't focus on anything else at the moment except for finishing everything to the quality I've been working towards my entire career here. In the mean time, I'll be on Twitter tweeting Art News and other things. If you have any requests or comments, now is the time!! But don't worry I'll be back with full force soon enough! In the mean time here's an otter I saw in the Smithsonian National History Museum in Washington D.C. a while back! So cute!
Wednesday, April 9, 2014
CROSS HATCHING: THE DRAUGHTMAN'S FAVORITE TOOL
When I first started learning how to draw I learned about cross hatching or hatching and thought it was a way to create a neat texture while drawing. I was completely unaware of it's extreme usefulness while drawing. To start, many artists from Peter Paul Rubens to Robert Longo use cross hatching in their drawings/sketches. Although there are different types of cross hatching that an artist can use.
Rubens was a very talented painter known for his use of brilliant reds within shadows. Many artists look to his paintings to learn about color theory and painting in general. But some go back and create copies of his sketches to learn how to render a figure well and learn basic knowledge of a figure. In this one sketch of Rubens you can see the marks are just straight lines. These lines are following the plane of each part of the skin to create darker areas as shadows. So where there are more lines there is more bends in the skin and more planes in which the skin uses. Get it?
Another few artists that use this technique very obviously and beautifully are Robert Longo, Jenny Saville and Simon Birch. This is a great skill to learn when learning about shading and rendering the figure. Many artists use this technique while copying masterpieces. Something to keep in mind while working with cross hatching or hatching is that the lines do not need to be straight, they can bend around the plane as well which allows for better rendering and following of the figure's skin. This allows a better 3 dimensional appearance to the viewer.
So if you're a new artist or an artist just needing some ideas, try cross hatching to further your skills in drawing.
Citations:
Rubens Sketch: http://www.metmuseum.org/toah/images/h2/h2_2002.12b.jpg
Rubens was a very talented painter known for his use of brilliant reds within shadows. Many artists look to his paintings to learn about color theory and painting in general. But some go back and create copies of his sketches to learn how to render a figure well and learn basic knowledge of a figure. In this one sketch of Rubens you can see the marks are just straight lines. These lines are following the plane of each part of the skin to create darker areas as shadows. So where there are more lines there is more bends in the skin and more planes in which the skin uses. Get it?
So if you're a new artist or an artist just needing some ideas, try cross hatching to further your skills in drawing.
Citations:
Rubens Sketch: http://www.metmuseum.org/toah/images/h2/h2_2002.12b.jpg
Monday, April 7, 2014
VISITING MUSEUMS: MET & WHITNEY BIENNIAL
If some of you follow my Twitter (@ArtOtter) then you know that I recently went to New York to visit the Met and the Whitney Biennial. There is a ton of stuff going on that you don't want to miss out on so let's start with the Met.
If you've ever been to the Met then you know of the amazing collection they have there. Vast as that collection is they have some special shows going on currently that push it further. Historic Photographs (salt prints, daguerreotypes, albumen prints) are currently on view as apart of their Charles Marville: Photographer of Paris exhibition. Now as long as I've been studying Photography I've still never seen a daguerreotype in person. They have 2 on show and they are fascinating and amazing. A picture really doesn't do it justice until you are standing in front of it and just in awe of the beautiful silver reflections. Now that exhibition is only up until May 4th so hurry over. It's quite a beautiful collection.
Another quite special thing going on at the Met is their William Kentridge installation, The Refusal of Time. This piece has moving sculptures and 5 channel video projection. As you get closer to this piece you can only hear it. Then once you get into the space, it's really quite amazing how you're fully embedded into the piece itself. At first it can be uneasy but once you start to look at everything you will realize how beautiful and mesmerizing it is. That's all I'll say about this piece because you really just have to see it in person.
Other exhibitions worth checking out at the Met are: The Passions of Jean-Baptiste Carpeaux (AMAZING artist who can portray torment and realism through his flawless sculptures, paintings, and drawings) and many more
Now moving on to the Whitney Biennial... I've never been to the Whitney before so I absolutely had to see this last biennial before they move. I had heard from previous years that it was mainly focused on performance and just really strange art, so going into it I really didn't know what to expect but to keep my mind open. The pieces that were included in this Whitney, I thought were amazing. I had barely any problems with the works I saw. I actually thoroughly enjoyed majority of it. I felt inspired and I understood what was trying to be portrayed. Some of my friends on the other hand had a completely different experience. They didn't know what was going on, they didn't consider it art, and they were very unhappy with the show. Now I truly don't know what show they saw but I saw something completely different. With that I'll explain which pieces I really loved.
Karl Haendel. wow. I am hugely in awe of Robert Longo's work as a whole and now seeing Haendel's work I am a huge fan of his as well. An entire wall dedicated to a truly talented draughtsman with amazing sense of composition and positive negative space. His drawings go from fully rendered to black void spaces, but yet feel complete. I could go on and on about him but I'll save that for another post.
Keith Mayerson's large salon style collection of paintings included images from a guy jerking off to a family portrait. The range of styles and images was really awesome and it was almost overwhelming with the amount of paintings that covered the small room. It really takes a long time to get through the room.
Paul P.'s Untitled small ink drawings were really ghostly and beautiful. The small collection was all you needed because of the detail and control in which he used. More of a classical style but definitely delicate and gorgeous.
There also were a few interesting installation pieces. One being by Valerie Snobeck and Catherine Sullivan and the other being by Bjarne Melgaard. Snobeck and Sullivan's piece was very inventive and beautiful, including ghostly blueprint images and suitcases. On the other hand, Melgaard's included pillows the shapes of penises, and violent scenes being projected on the walls of a gaudy and sexual themed plush room. I've got to say, I can see where some people will obviously be upset about Bjarne Melgaard's piece but when I was in the room there was an older couple and they were not upset or running out of the room. It spoke a lot of animal instincts and tension along with the need to hold back and show restraint. I actually felt that the message was good and as if this is what could happen if people didn't restrain themselves and how dystopic that would actually be.
There are so many other artists that are worth discussing but I don't have the time/space to keep writing about the Biennial. I will continue on about some other pieces though during the rest of this week, so stay updated!
Citations:
Charles Marville: http://www.metmuseum.org/exhibitions/listings/2014/charles-marville
William Kentridge: http://www.metmuseum.org/exhibitions/listings/2013/william-kentridge
Met Exhibitions: http://www.metmuseum.org/exhibitions/current-exhibitions
Karl Haendel: http://whitney.org/Exhibitions/2014Biennial/KarlHaendel
Paul P.: http://whitney.org/Exhibitions/2014Biennial/PaulP
Bjarne Melgaard: http://whitney.org/Exhibitions/2014Biennial/BjarneMelgaard
If you've ever been to the Met then you know of the amazing collection they have there. Vast as that collection is they have some special shows going on currently that push it further. Historic Photographs (salt prints, daguerreotypes, albumen prints) are currently on view as apart of their Charles Marville: Photographer of Paris exhibition. Now as long as I've been studying Photography I've still never seen a daguerreotype in person. They have 2 on show and they are fascinating and amazing. A picture really doesn't do it justice until you are standing in front of it and just in awe of the beautiful silver reflections. Now that exhibition is only up until May 4th so hurry over. It's quite a beautiful collection.
 |
| Charles Marville, Rue de Constantine, 1865, Albumen silver print from glass negative |
Other exhibitions worth checking out at the Met are: The Passions of Jean-Baptiste Carpeaux (AMAZING artist who can portray torment and realism through his flawless sculptures, paintings, and drawings) and many more
Now moving on to the Whitney Biennial... I've never been to the Whitney before so I absolutely had to see this last biennial before they move. I had heard from previous years that it was mainly focused on performance and just really strange art, so going into it I really didn't know what to expect but to keep my mind open. The pieces that were included in this Whitney, I thought were amazing. I had barely any problems with the works I saw. I actually thoroughly enjoyed majority of it. I felt inspired and I understood what was trying to be portrayed. Some of my friends on the other hand had a completely different experience. They didn't know what was going on, they didn't consider it art, and they were very unhappy with the show. Now I truly don't know what show they saw but I saw something completely different. With that I'll explain which pieces I really loved.
Karl Haendel. wow. I am hugely in awe of Robert Longo's work as a whole and now seeing Haendel's work I am a huge fan of his as well. An entire wall dedicated to a truly talented draughtsman with amazing sense of composition and positive negative space. His drawings go from fully rendered to black void spaces, but yet feel complete. I could go on and on about him but I'll save that for another post.
 |
| Karl Haendel, Theme Time - Presidents Day, 2013, pencil on paper 69"x52" |
Paul P.'s Untitled small ink drawings were really ghostly and beautiful. The small collection was all you needed because of the detail and control in which he used. More of a classical style but definitely delicate and gorgeous.
 |
| Paul P., Untitled, ink on paper, 2013, 11 3/4" x 8 1/2" |
There are so many other artists that are worth discussing but I don't have the time/space to keep writing about the Biennial. I will continue on about some other pieces though during the rest of this week, so stay updated!
Citations:
Charles Marville: http://www.metmuseum.org/exhibitions/listings/2014/charles-marville
William Kentridge: http://www.metmuseum.org/exhibitions/listings/2013/william-kentridge
Met Exhibitions: http://www.metmuseum.org/exhibitions/current-exhibitions
Karl Haendel: http://whitney.org/Exhibitions/2014Biennial/KarlHaendel
Paul P.: http://whitney.org/Exhibitions/2014Biennial/PaulP
Bjarne Melgaard: http://whitney.org/Exhibitions/2014Biennial/BjarneMelgaard
Wednesday, April 2, 2014
CREATIVE CONVERSATION
This post is going to confront two ideas: critiques within your studio/workspace and having a place or group to go to about your creative questions. As an artist is it very important to have an open line to critiques whenever you need it. It may seem difficult when you're not in the right situation but there are so many easy ways to have support and criticism to help you grow as an artist.
If you have a studio or workspace don't be afraid to invite other artists in. One way to broaden your connections and keep them is to have studio visits. It's also a great idea to go visit other people's studios so you get a good idea of how their process is. Maybe you'll pick up a few tips while strengthening a few connections along the way.
Join a art community. There are plenty of ways to find groups of people with similar interests or even just area in which you all reside. There are groups that are called Art Organizations which you sometimes have to pay for but you do get insider info and opportunities. You just have to figure out which is the right one for you. But either way there are groups and communities online that you can easily join right on Facebook. This is also a great way to promote a show you might be in or anything that you've got going on.
Visiting art museums. Pretty much every museum has a VIP or Membership opportunity. This allows you to rub elbows with other people in the community that have a similar interest in art history or buying art. Not to mention you get great perks like wine and cheese evenings for openings of new exhibitions and sometimes even lectures by the curators or artists themselves.
A final way to get helpful studio practice help or social media help is to comment on blogs like this one. If you want to know how to stretch a canvas or get yourself in more shows but don't even know where to start, then ask! Start up that conversation so that you get your name our there and the information that you need.
If you have a studio or workspace don't be afraid to invite other artists in. One way to broaden your connections and keep them is to have studio visits. It's also a great idea to go visit other people's studios so you get a good idea of how their process is. Maybe you'll pick up a few tips while strengthening a few connections along the way.
Join a art community. There are plenty of ways to find groups of people with similar interests or even just area in which you all reside. There are groups that are called Art Organizations which you sometimes have to pay for but you do get insider info and opportunities. You just have to figure out which is the right one for you. But either way there are groups and communities online that you can easily join right on Facebook. This is also a great way to promote a show you might be in or anything that you've got going on.
Visiting art museums. Pretty much every museum has a VIP or Membership opportunity. This allows you to rub elbows with other people in the community that have a similar interest in art history or buying art. Not to mention you get great perks like wine and cheese evenings for openings of new exhibitions and sometimes even lectures by the curators or artists themselves.
A final way to get helpful studio practice help or social media help is to comment on blogs like this one. If you want to know how to stretch a canvas or get yourself in more shows but don't even know where to start, then ask! Start up that conversation so that you get your name our there and the information that you need.
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