DISCERNING REAL OPPORTUNITIESNot all exhibition opportunities are equal, depending on the artist's developmental progress. The ability to discern which are real opportunities years in advance of actual exhibition dates can be a challenge. This is more a problem for emerging and mid-career artists submitting proposals to a public or non-profit
Intent of the Blog: This is my first time creating a blog. My intent is to be expressively informative. As a contemporary visual and media artist, I experience all the ups and downs of being a creative person and trying to "make ends meet". Ok, the creative part is that space
Funding: To be or not to be?Thank you all for contributing to the success of B.O.A.T. inc.'s daily blog. Artists' ears generally perk-up with the topic of "funding", even though the statistics show the greatest percentage of income from a business of art is from sales, not grants, and not
TransportationTransporting artworks to the exhibition venue is often the responsibility of the artist even if the gallery may agree to cover the return transportation costs. Having a local exhibition offers the possibility of saving costs by transporting the artworks oneself. The physical agility and energy required to load and
You'll notice a round corned orange icon to the right of this page. If you clic on it a screen will appear which will prompt you how to post comments, and thereby participate in the Business of Art Training, B.O.A.T. inc. blog. You'll also notice at the far right in
Yesterday's blog ended with reference to "Other" and "Outsider" art. These are not my terms but the "official" nomenclature that the art industry uses to reference art that doesn't fit Western contemporary art discourse, yet. In 1960's lingo, its the art of "counter culture". I'm old enough to have observed
Profit-Legacy Continuum A "professional" artist is defined as spending the greater amount of their time doing some aspect of their art, including teaching, writing and marketing their art. Other sources of income may supplement the artist's copyright income but it isn't the major focus of their time. For analysis purposes, I've
Over the past decade, I've observed a personal rhythm to balancing activities within my art practice, and interfacing it with "the other"; and creating income to support all this. My style seems to be based on "delayed gratification". One year I might focus on writing many exhibition and funding proposals,
"Independent" Visual ArtistsWow! I know its an incredibly big subject because there's probably as many types of careers as there are independent visual artists. Firstly, let me clarify the arguable concept of "independent visual artist" or art practice. "Independent visual artist" in my view refers to an artist who creates
Book distribution - http://www.artengine.ca/sandra/book/index.htm I prefer to sell the book, "The Business of Art for Canadian Visual Artists" through a third party retailer. Because I'm so small being both the author and publisher, the retailer must pay me up-front for the books. This is not the norm in the Canadian publishing