Courtesy of ArtAdvice.com
The level of success an artist achieves when entering juried shows, obviously relates to the quality of your work. However, artists may be surprised to learn there are many other, not so obvious reasons, their work is selected or rejected.
Every time you send off a portfolio of your work to a gallery, curator, grant program, slide registry or other such person or entity, you take the risk of being rejected and disappointed. Rejection can naturally lead to feelings of hurt and discouragement. In this issue of FYI, the Hotline has teamed up with artist and psychotherapist Sandra Indig, founder of Psychotherapists for Arts Services, to take a closer look at rejection and to offer you some strategies for building up your immunity to the reality of rejection.
Courtesy of Learn to Art
Courtesy of Art Business.
Courtesy of ArtBusiness.com
This column addresses the issue of contracts between artists, galleries and collectors. A contract is the essential tool that informs both parties of their responsibilities and objectives. If you and your gallery/collector work well together, you will rarely, if ever, refer to it. Since I am not a lawyer (I’m not even a doctor), I thought it best to cull information from the top publications in the field dealing with the business of art. I compiled the following highlights from the five books listed below . . .
Courtesy of ArtBusiness.com.
What you are about to read is a follow-up to the article Art Dealers From Hell and How to Spot Them...
Courtesy of Art Advice.
“We were having one of those really great first dates, the kind you can only have if it’s not really a date.” Sarah Jessica Parker, Sex and the City