We started talking about what it means to curate art and then looked at guidelines for you to do the job yourself. Today I want to give you some ideas to help freshen up your art – not just for others, but for you. You will learn things about your art when you challenge yourself to look at it in new ways. Because we’re meeting in a virtual space, we’ll look at how this might be done on a website, but everything I share here could be applied to a live venue.
In a post last week, I discussed the value of curating your art and approaching it as an additive rather than subtractive process. I wrote: The first step in curating your art is to start with a piece or two that best represent what you’re trying to communicate. After you’ve done this, you can build your exhibition or Web page around that piece. If you find you have too many in the end, you can start subtracting.
Poor things. They’re barely three years old and they’re already considered past their prime. I’m not talking about the horses running the Triple Crown races this year. I’m talking about your art – where you should and shouldn’t show aging work.
If you’re using Microsoft Word to create your résumé and are finding your columns out of line, I suggest using the Tables feature.
Artists and others can use the WordPress blogging platform as a content management system (CMS) for their WordPress sites. You can manage your portfolio, update your CV, and post upcoming shows and exhibitions by using WordPress PAGES.
Last week I reviewed a formal biography and gave you an easy-to-use, three-part bio format. If you missed that post, you can find it here: Work On Your Biography.
You don’t always need or want a stiff-sounding bio. In fact, if you want to relate directly to your fans, an informal bio is a better choice. Because most of us start writing informal bios for the About page of our websites and blogs, let’s look at the informal bio through that lens.
Maria Coryell-Martin, Cooked. 25 July 2006. Ink and watercolor, 11.5 x 10 inches. ©The Artist
A successful About page is injected with your personality. It lists your accomplishments, but it also includes personal stories and perhaps even hobbies and interests. It has your energy–or maybe the energy you’d like to have!
Artists need biographies for grant applications, websites, and more. If you’re confused about how to write your biography–or the different tones it might take–read this week’s newsletter. I give you an easy 3-part approach to writing a bio.
While there is no standardized format for submitting your portfolio to galleries, you can earn points by being professional from the get-go. Fewer galleries = fewer artists in galleries. There isn’t much room for error. You must behave professionally in every way.
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From the Vault: About Galleries
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The last episode of the Art Marketing Action podcast was November 22, 2010. You can listen to or download any episode on iTunes.
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You’ve done a lot of research to find galleries where your work fits, so don’t blow the submission process. While there is no standardized format for submitting your portfolio to galleries, you can earn points by being professional from the get-go. Find out what the gallery wants and follow its wishes to a T.
Many galleries have submission guidelines on their websites, so check there first. If they aren’t available (Did you check thoroughly?), pick up the phone and call. When someone answers the phone at the gallery, you say the following:
Hi, I’m Sandy Wooden. I’m calling to ask for your artist submission guidelines. I visited your website and didn’t find any posted, but I want to be sure that I understand your preferences.
This brief introduction (1) puts your name in front of the gallery,
There’s a lot of content here on the blog and in past issues of the Art Biz Coach newsletter. Let me help you out!
Today, some articles and posts for your résumé.
from the ART BIZ BLOG
What to do with a gap in your artist resume
Format for your artist resume
What? No resume?
Exhibition records for your art
from the ART MARKETING ACTION PODCAST
Keep a master resume
from my book, I’D RATHER BE IN THE STUDIO! See pages 79-81
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