" Who says - do not know , who knows - does not say " <! - ~ 6 ~ ->
My attempt to discover the artist's audience - smotritete theme " exhibition" , solo exhibition hudozhnnika Adolf Lokhin . Before that, there was an exhibition in the Central House of Artists " Full length ! " . Then show in Helsinki -Russian cultural and scientific center . Everywhere - sold out. Hen pecking grain by grain , and does not always prevail over the rest of the material . Thanks to all who saw and spoke of visiting the exhibition and the works on it represented . Tomorrow will post more photos.
It's simple.
"Criminal" artist - is any artist who is not rotten to the Artoil-A, does not dream of a stall in Malahovka and unfasten in SP Artoil-A the percentage of "tax the roof
. "
<! - ~ 10 ~ ->
How strange - nothing has changed in three years, which was absent from the forum.
Untwist the artist by guessing the invisible and misunderstood debate about ...
Well, yes, "Pergolas" Well no ...
Эти 2 пользователя(ей) сказали Спасибо Buscador за это полезное сообщение:
Q: How to find an agent who would represent my work?
Answer: "Agent of the artist" - is, by and large, no more than a myth. Strictly speaking, it artdillery and art galleries act as an agent and represent the artist and that they should be treated. Very few artists use the services of those who can be called agents, representatives, or rather the managers. However, this is only achieved fame artists who can not afford to hire a professional, supportive external contacts with dealers, galleries, museums and buyers.
Q: I regularly send out their work to galleries, but no one shows any interest to them. What am I doing wrong?
Читать дальше...
A: If you are applying to those whom you know and who knows you and is not familiar with your art, then you have very little chance of success. The odds are not very high and if you are trying to attract the attention of large galleries, when he was still an unknown artist even at the regional level. First you need to create a name for yourself, where you live and work, it is necessary to seek contacts with the galleries that suit you thematically, to be able to explain why you and your work they need.
Question: I am writing pattern for several years, has participated in several group exhibitions organized by local galleries. Is not it time to turn to the major galleries and try to hold a solo exhibition?
Answer: Try to give an honest answer to my question. Now, if you're playing in a group in the evenings in the local bars and clubs, you will become a go to Madison Square Garden with a proposal to organize their own concert? The world of art has the same structure as the rest of the world. You climb up, step by step, and do not jump over the whole span.
Q: Is it worth spending money to produce digital prints (limited edition) of their work?
A: Only if your name is widely known, and the demand for your work is so great that you do not have time to meet him, selling the originals. Or if your originals are so expensive that buyers can not afford them. Mostly, reproduction buy because of the name, and the artistic value of the reproductions is always secondary. People read about the artist, they've heard about it, all the friends he has, then, and I should be. This is a list of reasons that motivate the desire to buy a reproduction. In addition, in considering the issue of reproductions, keep in mind that the presence on the market of the originals of your work, you start to compete with itself. Babbitt always prefer cheaper goods.
Q: Is it worth spending money on a website?
Answer: It is, but you should not spend on the internet page too much money (provided that you do not suffer from an overabundance of them, of course). Also, if your name is not too well known, do not count on a quick start online sales. The problem with attracting traffic to the new site is that people do not know about you, and no you do not look on the internet, well, or these people are still too few. So it's best to make a simple, inexpensive website and online promotion combined with traditional forms, such as personal communication with target people. A good website for a budding artist should include a few words about yourself and your art, a brief biography, resume, photos of your work with prices and contact information. And of course, your site should not be any nonsense like flash animation, music, flashing cuttlefish in a series of "catch me." When I refer to the website of the artist, I only need less than torture by ingenious web designer. I want to meet the artist and see his work. Nothing more and nothing less.
Q: Is it worth paying for the opportunity to exhibit their work at the famous theme websites?
A: Maybe, just do not pay much. There are a couple of major sites that offer free accommodation. With them and start. The other art sites are created to make money. And make them who they are owned, not artists who use the services of such sites. Artists pay for placement works on the site regardless of whether the sale of their work or not. Thus, website owners always win. Score: one-nil in favor of the site. Of course, the best of these sites sell very well by the artists, but who belong to these works, the site owners does not bother. Thus, any potential buyer who comes to your page, immediately prompted something similar to what you are doing. Big reason to stay on your page, the buyer does not, and the chance that he will go to your page without buying increases. It's been two-nil in favor of the site. Now, keep in mind that major art sites is the work of hundreds of artists, so the likelihood that someone will pay attention on you, no more than to win the jackpot in Las Vegas. Total score: three-zero, not in favor of the artist. The chances will be much higher if the site agrees to regularly promote just your work, but since you are one of the many hundreds, you can hardly count on it.
Q: Does it make sense to rent exhibition space in the galleries that offer such services?
Answer: It depends on the particular gallery. There are galleries, located to the artists, their prices are low, they offer a useful ancillary services that provide the necessary contact the artist. Others, however, are prohibitively expensive, pursue only their own interests, and their promises of generous, but almost never performed. The best way to understand what the one or the other gallery - talk to the artists who have used or use its services. And do it BEFORE you pay for the services provided.
Question: From time to time I get offers to host the work in catalogs and reference books by contemporary artists. As stated, these publications have thousands of copies and distributed at national and international levels. Submission of application for participation in the catalog are usually free or a nominal charge. However, in the case of confirmation of your participation in the directory service cost increases dramatically, sometimes up to several thousand dollars. For the money in the handbook will put a maximum two-page essay on the work and allocate space for a few illustrations. Whether to make such an offer or not?
Answer: No. Authoritative, credible reference books and directories, such as "Who's Who in American Art» (Marquis Who's Who in American Art) or "New American Paintings» (New American Paintings Open Studio Press) does not require money for posting the information on their pages. However, your nominee must approve, and in fairness it should be noted that to achieve this oh so not easy. ("The New American Painting" takes a small nominal fee, "Who's Who in American Art" - absolutely free). Those directories and directories that require large amounts of information for posting, as a rule, have repeatedly inflated prices, and these publications are poorly distributed. This is a one-way ticket. These directories do not have any real weight in the world of art. They are good only to satisfy their own vanity. Anyone who has sent a request to this directory will be guaranteed adopted. Why? Because such publications exist only at the expense of the thousands and thousands of dollars that they agree to pay the naive artists. So what is the meaning of wanting to deny? That's right - no. After the inclusion of information about you in such a directory - what is the deal with its spread? Again, right - no. You've already paid for. To all this must be added that for the amount that require such directories, you can buy a U-turn in the popular glossy magazine on art, or pay for the creation of a good very professional website.
Q: Can you give me a list of galleries, agents or collectors who may be interested in my work?
Answer: The idea that someone with malomalskoy weight in the world of art, will share information and contacts with a complete stranger - is just absurd. Let's start with the fact that the person you are addressing a request, has not the slightest idea of who you are that kind of person, what kind of artist you are, what you can and can we work with you. In the art world recommend only those artists who are known personally, and only to those dealers or gallery owners, which, again, personally familiar with. Relationships in the art world are built on trust and personal acquaintances. The basis of such links is based on the long-term and mutually beneficial relationships built up by years. No one will never risk their reputation by giving contacts and lists of names unfamiliar artists. Recommendations are given only when there is a reason for it, and quite definite intentions, when it is assumed a definite scenario, profitable, including, and is recommended. Recommendations give always and only, people are well aware of.
Q: My work is all like. Why do not they sell?
Answer: It all depends on who exactly do you mean by the word "all." If it's friends and family members, they will likely enjoy whatever you do (well, and if they do not like it, they'll never admit it). Try this experiment: the next time "all" will compliment your art, ask them exactly which of your works they would like to buy, and how many are willing to pay for it. In everyday life, love can be expressed in different ways, but we must remember that the world's love of art is always expressed in money.
Q: Should I buy a list of email addresses galleries and regularly send to these addresses information about my work?
Answer: This is a waste of money and frank art spam. You do not know who made up this list, on what basis, what is the theme and focus of the included galleries, suited to, even remotely, they are your style and whatever you do, etc. Will you approach every stranger on the street offering to buy your work? But this is exactly what you are going to do, buying a list of email addresses. Daily gallery receive dozens of letters similar content. Why do you think that the gallerist, throws to cart all this correspondence, make an exception just for your writing?
Question: I made a donation to a charity auction and my work was sold for good money. I raised the price of his other work, but now I can not sell. What's going on?
A: charity auctions people give money to charity, and the purchase of your work is a companion action. Therefore, the price of charity auctions have no relation to the real value of art works - they can be either very high or unreasonably low. Most participants come to a charity auction to make a donation and people care what specifically will be an occasion. In this situation, your job is just a souvenir that they carry away from the action.
Q: I'd prefer that my art speaks for itself. Is not that right?
A: Maybe you're right, but only in the case if you create a work of art speak. In all other cases, to speak (or write) you have to yourself. This is necessary in order to enable people to better understand and appreciate what you're doing. It is suitable comparison with the theater. Imagine setting, played by actors on a bare stage, dressed in contemporary urban clothing, the same play, with actors in costumes that matched the era of colorful decorations. Agree that the depth perception will be different, although the text of the play is the same.
Q: Do I have to describe my work, the terminology adopted in art, noting that it belongs to a particular style and direction in art?
A: Not always. This is justified only in those rare cases where the interviewee understands the history of art. Most people do not know enough in such matters. In addition, those who are versed in art history, do not need further explanation and can choose to make the necessary conclusions. Mostly, people want to hear your story. Why do you have dedicated their lives creativity, how you came to the idea of self-expression through art, how you work, you feel like you're trying to convey to others through your art? Simple story your way - that's what interests the public. Therefore, insight into the history of art in most cases is misplaced.
Q: Is it appropriate to mention names of artists that have influenced the formation of my work?
Answer: No. If, for example, notice that you have been influenced Warhol's attention immediately switches from you to Warhol. The mention of famous names inevitably compared. The problem is that most often the comparison is not in your favor. So try to focus on yourself, and let the critics themselves are selected comparison - it's their job.
Q: My teachers say that the only way for an artist to succeed is the motto: "go ahead and create art". But is this really so?
Answer: Professors, students who clog the head of such nonsense, really need to be more honest with my students and tell them the truth. And the truth is that the professors do not know how to succeed, because they taught that no one, and if they knew, then, no doubt, many of them would not have to teach in schools. I'm not attacking on teachers. We really need this respected profession. I just want to say that even the professor is not ashamed to admit that the world is something he does not know. And it's better than pompously call everybody "move forward." The artist can quickly find its niche in the market of works of art and life can flounder helplessly, not knowing its laws. A lot of artists could have avoided many mistakes, if they had even the most basic understanding of how the market operates. At a time when the artist releases his work outside of the studio, at the beginning of the path that runs every other product on the market and the way this is not much different from the path that goes all the goods. Turn your work into a commodity and to be able to sell this product is very important for an artist who is going to be on their earnings. Let us hope that in art schools will explore issues of interaction of art and money. And then the graduates of these schools will be better prepared for the realities of the market.
Эти 8 пользователя(ей) сказали Спасибо таша за это полезное сообщение:
Tasha I did not rewrite everything . Everything seems to have , professors still right. There is an art and commercial art is . All of these tips , " a wise man will lead to a loss of identity and the commercial success. Artist becomes a machine for making money for the manager or somebody else , call it what you like.
Then you first need to find their way on to compete with other artists. It needs a major exhibition and opportunities to exhibit . Sale- deed recently .
Эти 3 пользователя(ей) сказали Спасибо Pavel за это полезное сообщение:
Pablo (24.06.2013), Seriy (24.06.2013), таша (25.06.2013)
Q: How to find an agent who would represent my work?
Answer: "Agent of the artist" - is, by and large, no more than a myth. Strictly speaking, it artdillery and art galleries act as an agent and represent the artist and that they should be treated. Very few artists use the services of those who can be called agents, representatives, or rather the managers. However, this is only achieved fame artists who can not afford to hire a professional, supportive external contacts with dealers, galleries, museums and buyers.
Q: I regularly send out their work to galleries, but no one shows any interest to them. What am I doing wrong?
Читать дальше...
A: If you are applying to those whom you know and who knows you and is not familiar with your art, then you have very little chance of success. The odds are not very high and if you are trying to attract the attention of large galleries, when he was still an unknown artist even at the regional level. First you need to create a name for yourself, where you live and work, it is necessary to seek contacts with the galleries that suit you thematically, to be able to explain why you and your work they need.
Question: I am writing pattern for several years, has participated in several group exhibitions organized by local galleries. Is not it time to turn to the major galleries and try to hold a solo exhibition?
Answer: Try to give an honest answer to my question. Now, if you're playing in a group in the evenings in the local bars and clubs, you will become a go to Madison Square Garden with a proposal to organize their own concert? The world of art has the same structure as the rest of the world. You climb up, step by step, and do not jump over the whole span.
Q: Is it worth spending money to produce digital prints (limited edition) of their work?
A: Only if your name is widely known, and the demand for your work is so great that you do not have time to meet him, selling the originals. Or if your originals are so expensive that buyers can not afford them. Mostly, reproduction buy because of the name, and the artistic value of the reproductions is always secondary. People read about the artist, they've heard about it, all the friends he has, then, and I should be. This is a list of reasons that motivate the desire to buy a reproduction. In addition, in considering the issue of reproductions, keep in mind that the presence on the market of the originals of your work, you start to compete with itself. Babbitt always prefer cheaper goods.
Q: Is it worth spending money on a website?
Answer: It is, but you should not spend on the internet page too much money (provided that you do not suffer from an overabundance of them, of course). Also, if your name is not too well known, do not count on a quick start online sales. The problem with attracting traffic to the new site is that people do not know about you, and no you do not look on the internet, well, or these people are still too few. So it's best to make a simple, inexpensive website and online promotion combined with traditional forms, such as personal communication with target people. A good website for a budding artist should include a few words about yourself and your art, a brief biography, resume, photos of your work with prices and contact information. And of course, your site should not be any nonsense like flash animation, music, flashing cuttlefish in a series of "catch me." When I refer to the website of the artist, I only need less than torture by ingenious web designer. I want to meet the artist and see his work. Nothing more and nothing less.
Q: Is it worth paying for the opportunity to exhibit their work at the famous theme websites?
A: Maybe, just do not pay much. There are a couple of major sites that offer free accommodation. With them and start. The other art sites are created to make money. And make them who they are owned, not artists who use the services of such sites. Artists pay for placement works on the site regardless of whether the sale of their work or not. Thus, website owners always win. Score: one-nil in favor of the site. Of course, the best of these sites sell very well by the artists, but who belong to these works, the site owners does not bother. Thus, any potential buyer who comes to your page, immediately prompted something similar to what you are doing. Big reason to stay on your page, the buyer does not, and the chance that he will go to your page without buying increases. It's been two-nil in favor of the site. Now, keep in mind that major art sites is the work of hundreds of artists, so the likelihood that someone will pay attention on you, no more than to win the jackpot in Las Vegas. Total score: three-zero, not in favor of the artist. The chances will be much higher if the site agrees to regularly promote just your work, but since you are one of the many hundreds, you can hardly count on it.
Q: Does it make sense to rent exhibition space in the galleries that offer such services?
Answer: It depends on the particular gallery. There are galleries, located to the artists, their prices are low, they offer a useful ancillary services that provide the necessary contact the artist. Others, however, are prohibitively expensive, pursue only their own interests, and their promises of generous, but almost never performed. The best way to understand what the one or the other gallery - talk to the artists who have used or use its services. And do it BEFORE you pay for the services provided.
Question: From time to time I get offers to host the work in catalogs and reference books by contemporary artists. As stated, these publications have thousands of copies and distributed at national and international levels. Submission of application for participation in the catalog are usually free or a nominal charge. However, in the case of confirmation of your participation in the directory service cost increases dramatically, sometimes up to several thousand dollars. For the money in the handbook will put a maximum two-page essay on the work and allocate space for a few illustrations. Whether to make such an offer or not?
Answer: No. Authoritative, credible reference books and directories, such as "Who's Who in American Art» (Marquis Who's Who in American Art) or "New American Paintings» (New American Paintings Open Studio Press) does not require money for posting the information on their pages. However, your nominee must approve, and in fairness it should be noted that to achieve this oh so not easy. ("The New American Painting" takes a small nominal fee, "Who's Who in American Art" - absolutely free). Those directories and directories that require large amounts of information for posting, as a rule, have repeatedly inflated prices, and these publications are poorly distributed. This is a one-way ticket. These directories do not have any real weight in the world of art. They are good only to satisfy their own vanity. Anyone who has sent a request to this directory will be guaranteed adopted. Why? Because such publications exist only at the expense of the thousands and thousands of dollars that they agree to pay the naive artists. So what is the meaning of wanting to deny? That's right - no. After the inclusion of information about you in such a directory - what is the deal with its spread? Again, right - no. You've already paid for. To all this must be added that for the amount that require such directories, you can buy a U-turn in the popular glossy magazine on art, or pay for the creation of a good very professional website.
Q: Can you give me a list of galleries, agents or collectors who may be interested in my work?
Answer: The idea that someone with malomalskoy weight in the world of art, will share information and contacts with a complete stranger - is just absurd. Let's start with the fact that the person you are addressing a request, has not the slightest idea of who you are that kind of person, what kind of artist you are, what you can and can we work with you. In the art world recommend only those artists who are known personally, and only to those dealers or gallery owners, which, again, personally familiar with. Relationships in the art world are built on trust and personal acquaintances. The basis of such links is based on the long-term and mutually beneficial relationships built up by years. No one will never risk their reputation by giving contacts and lists of names unfamiliar artists. Recommendations are given only when there is a reason for it, and quite definite intentions, when it is assumed a definite scenario, profitable, including, and is recommended. Recommendations give always and only, people are well aware of.
Q: My work is all like. Why do not they sell?
Answer: It all depends on who exactly do you mean by the word "all." If it's friends and family members, they will likely enjoy whatever you do (well, and if they do not like it, they'll never admit it). Try this experiment: the next time "all" will compliment your art, ask them exactly which of your works they would like to buy, and how many are willing to pay for it. In everyday life, love can be expressed in different ways, but we must remember that the world's love of art is always expressed in money.
Q: Should I buy a list of email addresses galleries and regularly send to these addresses information about my work?
Answer: This is a waste of money and frank art spam. You do not know who made up this list, on what basis, what is the theme and focus of the included galleries, suited to, even remotely, they are your style and whatever you do, etc. Will you approach every stranger on the street offering to buy your work? But this is exactly what you are going to do, buying a list of email addresses. Daily gallery receive dozens of letters similar content. Why do you think that the gallerist, throws to cart all this correspondence, make an exception just for your writing?
Question: I made a donation to a charity auction and my work was sold for good money. I raised the price of his other work, but now I can not sell. What's going on?
A: charity auctions people give money to charity, and the purchase of your work is a companion action. Therefore, the price of charity auctions have no relation to the real value of art works - they can be either very high or unreasonably low. Most participants come to a charity auction to make a donation and people care what specifically will be an occasion. In this situation, your job is just a souvenir that they carry away from the action.
Q: I'd prefer that my art speaks for itself. Is not that right?
A: Maybe you're right, but only in the case if you create a work of art speak. In all other cases, to speak (or write) you have to yourself. This is necessary in order to enable people to better understand and appreciate what you're doing. It is suitable comparison with the theater. Imagine setting, played by actors on a bare stage, dressed in contemporary urban clothing, the same play, with actors in costumes that matched the era of colorful decorations. Agree that the depth perception will be different, although the text of the play is the same.
Q: Do I have to describe my work, the terminology adopted in art, noting that it belongs to a particular style and direction in art?
A: Not always. This is justified only in those rare cases where the interviewee understands the history of art. Most people do not know enough in such matters. In addition, those who are versed in art history, do not need further explanation and can choose to make the necessary conclusions. Mostly, people want to hear your story. Why do you have dedicated their lives creativity, how you came to the idea of self-expression through art, how you work, you feel like you're trying to convey to others through your art? Simple story your way - that's what interests the public. Therefore, insight into the history of art in most cases is misplaced.
Q: Is it appropriate to mention names of artists that have influenced the formation of my work?
Answer: No. If, for example, notice that you have been influenced Warhol's attention immediately switches from you to Warhol. The mention of famous names inevitably compared. The problem is that most often the comparison is not in your favor. So try to focus on yourself, and let the critics themselves are selected comparison - it's their job.
Q: My teachers say that the only way for an artist to succeed is the motto: "go ahead and create art". But is this really so?
Answer: Professors, students who clog the head of such nonsense, really need to be more honest with my students and tell them the truth. And the truth is that the professors do not know how to succeed, because they taught that no one, and if they knew, then, no doubt, many of them would not have to teach in schools. I'm not attacking on teachers. We really need this respected profession. I just want to say that even the professor is not ashamed to admit that the world is something he does not know. And it's better than pompously call everybody "move forward." The artist can quickly find its niche in the market of works of art and life can flounder helplessly, not knowing its laws. A lot of artists could have avoided many mistakes, if they had even the most basic understanding of how the market operates. At a time when the artist releases his work outside of the studio, at the beginning of the path that runs every other product on the market and the way this is not much different from the path that goes all the goods. Turn your work into a commodity and to be able to sell this product is very important for an artist who is going to be on their earnings. Let us hope that in art schools will explore issues of interaction of art and money. And then the graduates of these schools will be better prepared for the realities of the market.
On the other hand, this system there have for many years, and that? Where world-class galleries? Where promoted artists? Where ... may, in the conservatory is something wrong?
20.06.2013, 23:36
Exhibition of Adolf Lokhin
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