sex and money... recognition and praise."
Tuesday, July 31, 2007
Monday, July 30, 2007
What are the most important things for artists to know when applying for grants?
Grants are only one piece of pie for artists. They areWhat should artists ask for?
just one part of a whole strategy that you come up
with for yourself.
Before you begin looking anywhere for funding, spend
time to find your own objective. Always stick to it.
That's the first step. Artists sometimes make the
mistake of wanting to mold themselves to what they
think the needs of the grantor are. But it's actually
just the reverse! You need to know your objective
The second step is doing research and identifying
resources that match your objective. Sometimes,
grants are the answers to that and sometimes they're
The third key step is follow-up. In some cases, you
may have to ask over and over again for funding.
One piece of advice I give artists is not to take
rejection personally. You cannot ever really know
what people's motivations are for supporting a
certain project. They have their own reasons. And
sometimes it's really not about you at all.
Identify your objective. Then figure out what yourSo the delivery just isn't there.
needs are and how to ask someone so that they can
give you a "yes." Or so that they can give you a "yes"
or "no" to let you move on to your next step. The
corporate world knows how to do this. But in a lot of
art-related conversations, artists talk about the
subject. Potential supporters might come to the table
wanting to help you, but they get confused because
they don't know what you're saying to them or what
Yes. Maybe because art sometimes seems to haveShould artists look at both grants and other funding sources if they have a project they want to fund?
so little value in the eyes of the culture that we are
Yes. Not every successful artist is going to get a
grant. If you look at just our statistics, Creative
Capital received almost three thousand applications
this year, and we're maybe going to give fifty grants.
That's less than two percent. Artists need to look at
things like corporate giving programs and in-kind
donations as sources of funding, too.
Nevertheless, I say it's always worth it to write a
grant application if it fits your objectives.
How can artists build on the grants they have received? You mentioned corporate giving programs and in-kind donations before.
Because it helps you hone your objectives and your
writing skills. I might complain about having to write
an application, but once I've done it, I am usually
several steps forward in my own thinking about my
While we're on the topic of writing about your work,
I think that every artist needs to learn to do this —
even if they feel it's hard and even if they can afford
to hire someone else! Grant panelists can immediately
recognize something that a second party has written,
or a grant writer who knows "grantese" has written,
or whether it's really coming from the heart of the
artist. So, I always emphasize to artists that it is to
their advantage to write about their work. It's not a
waste of time.
People will often be interested in a project if theyYou've talked a lot about setting objectives. How do artists do that?
see that someone else is already signed on and has
put the money on the line for it. If you receive a
grant, you can use that to approach other grant
agencies for more funding. If you don't need to
raise more money, you can still use that as
leverage for your career.
But I think that most artists don't focus enough
attention on donations of in-kind goods and services.
For example, if you're doing a big public art project
at the local school, you can ask the local scaffolding
company to donate the scaffolding you need. This is
where you can really get creative in your thinking as
an individual artist and also build a constituency
and audience for yourself. There are a lot of
businesses and individuals out there who would really
love to have contact with artists and what they're
I met an incredible husband and wife theatrical team,
whose productions were related to specific issues, like
women aging, and they were booked solid all year
round touring their pieces. They would target a
particular region or constituency as the audience of
this piece, and then they would methodically get in
touch with all the organizations that were associated
with that topic. It goes back to the objective. They set
their objective and found the resources for it—totally
outside of the art community. They reach their
audience so that they don't have this false removal
from the public.
Every commission, every residency, every
exhibition is based on relationships. Someone, a real
human being, wanted to help you. So, a lot of it
is about how you build relationships with people.
Artists need to do strategic planning. It makes aWhat would be in it?
huge difference, but it's not something that we're
ever trained to do. You can hire someone to help
you make a strategic plan.
We all know the standard preparatory questions:I guess strategic planning could really change an artist's career.
What do you want to accomplish in one year? Name
one or two goals in relationship to a project. What
do you want to accomplish in five years? These
questions begin the process of very specific time
management and financial planning.
We have been doing strategic planning with our
funded artists, and it's just unbelievable what it's
doing in their lives. It gets them out of the
negative realm ("I can't do this" or "Everything is
impossible") and into the realm of concrete
actionable steps—"I have a plan here." You can
continuously change and modify the plan, but you're
working with a structure.
You don't lose your creativity. You're gainingAnd planning can also influence the course of a single project?
perspective and gaining ways of getting help. It really
makes people get focused and bring all the parts of
their lives into the picture.
Some artists live by crisis management. Like, "OK,
I just got this commission to do this project. Now
I'm going to throw everything I have into it. I'll put
everything I have into it. I'll put whatever I need to
on my credit card; I'll stay up until three o'clock in
the morning, just to have this happen." You can
survive that way. But you can't project out a whole
life of that and see yourself moving from point A to
B to C with any control.
It also helps artists to recognize where they are,
too. In the United States, we live in a market
economy that is driven by the conventions of
capitalism. If you want to enter the gallery system,
then you have to acknowledge that it's based on
producing and selling products. It has its limitations
and advantages. Do they match your objectives?
Base your decision on that. But if you're the kind of
artist who has a strong social conscience or doesn't
want their works in the marketplace or wants total
control, then don't even enter the gallery system.
It's a waste of your time to say the system is a
mess, or the system abuses me, or I don't get what
I want out of the system. The system is just what it
is. You're either going to choose to function in it or
you're going to choose to be outside of it and do
We funded one artist this year who had anWhat are some other Creative Capital programs?
incredible, interesting, community based project.
She was gung-ho to finish it within four months.
But we could see that if she gave it a couple more
years to develop, she could have this project go on
to a much bigger scale than she ever considered!
By working with us on strategic planning, she
extended the project two or three more years, got
more contacts in the community to fundraise for it,
found a good producer, got the backing it deserved.
It was a great retraining, reeducation process for her.
We are really trying to think creatively about money.Your agency really provides some great opportunities and services!
One arm of the organization is the traditional grant-
giving arm. We accept and process proposals, a panel
reviews them, and we award money.
After this process, the funded artists work with the
Artist Services arm of the organization. They meet
with the Creative Capital staff to talk and strategize
about their project. Where are they with the project?
Do they need fundraising or PR assistance? How can
we help them find the help that they need? We have
an annual retreat for all funded artists, with
workshops on such topics as fundraising, strategic
planning, and legal issues for the artists. Additionally,
we invite arts professionals to act as consultants.
This helps to open doors of communication and
opportunity for our funded artists. After the initial
grant and meetings, artists can apply for
supplemental support, up to $5,000 for strategic
needs related to the project such as purchasing
equipment, hiring consultants, or developing
promotional materials. The positive effect of this
targeted money has been exponential.
And finally, funded artists can come back and
request up to $20,000 related to their project.
This time, the key word is impact. If you get this
money, what kind of impact will this money have,
not just on the project but on the community at large?
Yes. We have very hands-on contact with our
artists. They have a lot of access to us as a resource.
to receive e-mail notification of future grant rounds at:
Sunday, July 29, 2007
To receive the glossary:
- Submit your first name and email address on the form at the URL listed below (the site owner swears on the life of his cat that your email information will never be sold or shared – I trusted him and so far, so good).
- You will receive an authentication email message almost immediately.
- Open your email message and click on the link included.
- Within a few minutes, you will receive another email message which has the glossary attached as a PDF file
Saturday, July 28, 2007
In this online exhibit by the Smithsonian, you will step-by-step create your own virtual version of mud cloth (bogolanfini) and then print it out. You also will meet:
Nakunte Diarra, an expert in the technique of creating bogolanfini (mud cloth)
Chris Seydou who uses mud cloth to create contemporary fashions, and
Ismael Diabate who combines traditional mud cloth techniques with contemporary media to produce works of art.
Friday, July 27, 2007
General Information About Commissions:
Assure Positive Outcomes When Working on Commission – Alan Bamberger
Checklist for a Commission – Please note that this is based on UK standards
Commissions and the Responsibilities they Bring, Part I – Henry Lydiate – Please note that this is based on UK standards
Commissions and the Responsibilities they Bring, Part II – Henry Lydiate – Please note that this is based on UK standards
Making Art on Commission: Tips for Artists – Alan Bamberger
Private Commissions and the Law, Part 1 – Henry Lydiate – Please note that this is based on UK standards
Private Commissions and the Law, Part 2 – Henry Lydiate – Please note that this is based on UK standards
Sometimes Refusing a Commission is Best – Alan Bamberger
Public Art Commissions:
Suspended Atrium Sculpture Library Project
Information about this project posted to her blog
A New Renaissance: Contemporary Art Commissioning – Richard Brecknock – This is a 102 page handbook written in 1996 as a “…practical guide as a way of sharing some of the experience gained from working, both as a practicing artist and also in my role as a consulting artist to architects and urban designers. In effect providing a way forward by saving artists and commissioners from repeating many of the difficulties and problems I have personally encountered and also providing a clear step by step guide to processes which over the years I have found to be successful.” – NOTE: The handbook is written from the framework of Austratian public art commissions and artist/architect collaborations
Checklist for Artists Involved in Public Art Commissions – Published by the Local Government Association of South Australia
What to Ask Before Applying for a Public Art Commission – an article in the June/July 2000 newsletter of New Mexico Arts – Regina Chavez Chapman
Public Art Commissions, Part 1 – Henry Lydiate – Please note that this is based on UK standards
Public Art Commissions, Part 2 – Henry Lydiate – Please note that this is based on UK standards
SAMPLE Agreements and Contracts for Private Commissions:
Artist/Client Agreement – an actual sample of a contract is not given, but a lot of extremely useful information is provided about what should be included in each section of the contract, and why.
Kay Bailey – This is her Sample Commission Agreement
Charlotte Warr Anderson provides a guideline for the pricing of her commissioned work
Commission Agreement – Cegur’s Chimera Gallery of the Arts – very detailed
Commission Contract – of an oil painter
Ellen Ann Eddy – This is a series of questions she poses to her clients as well as the information she gives to them about her design process and pricing. http://www.ellenanneeddy.com/commission.htm
Linda Witte Henke posts a series of questions which she explores with prospective clients who are considering a commission:
Mary Will Sussman – very detailed Art Quilt Commission Contract
Mary Will Sussman – very detailed Custom Made Wearable Art Contract
Thursday, July 26, 2007
"Textiles as Cultural Expressions" is the theme for The Textile Society of America's (TSA) 11th Biennial Symposium. It convenes September 24 - 27, 2008 in Honolulu, Hawaii, providing "...an international forum for the exchange and dissemination of information about textiles worldwide, from artistic, cultural, economic, historic, political, social, and technical perspectives."
"TSA encourages presentations on textiles fromCall for Papers Prospectus:
all parts of the globe and from textile-related
disciplines including (but not limited to):
anthropology, archaeology, art, art history,
conservation, cultural geography, design,
marketing, mathematics, economics, history,
indigenous traditions, linguistics, theatre, and
the physical and social sciences. Scholars, artists,
gallery and museum professionals, educators,
and lovers of textiles are encouraged to submit
proposals. [emphasis added]
Textiles serve as a means of communicating
cultural values, as a medium for social cohesion,
and they link science and technology, architecture
and design, music and the performing arts. We are
particularly interested in explorations of textiles
as story-telling media, as mythological objects, as
“woven” archetypes, and as evidence of a life lived,
showing the interconnectedness of culture(s)
and between generation(s). "
Wednesday, July 25, 2007
Rejection can be a very touchy subject. It's always unsettling to be rejected but it's an inevitable part of being an art quiltmaker, something that everyone must come to terms with. I asked a number of well known Australian art quiltmakers about their negative experiences. All readily agreed to be mentioned by name in the original newsletter article. They could see that it was in a good cause, that it could help other people to understand that having their quilts rejected is not the end of the world. But most were not keen to have their names included in the website version of the article. For that reason I've given all but one of them nicknames. But I can assure you that every one of these well known art quilters has received many, many rejection letters.
WHAT SPELLS SUCCESS FOR AN ART QUILTER?
If it's all so traumatic, why would anyone subject themselves to entering exhibitions with a selection process? No doubt the reasons are varied and complex. Far from being overwhelmed at the thought of having their work critically scrutinised, many people have a competitive spirit and relish the challenge. For some people, this kind of success represents another step forward in their quilting career, another proud entry in their CV. This is important for the quilter who wishes to exhibit in prestigious textile and craft exhibitions. (Exhibitions with no selection process are not generally considered to advance an art quilter's career, nor in certain circumstances should they appear on a CV).
Being selected for the right exhibitions can lead directly to awards, more invitations to exhibit, purchase of work for public or private collections, exposure overseas, teaching appointments or indirectly to grants, residencies and more. Being able to demonstrate a good track record as an artist can be crucial. But it is not for everyone; if the whole idea of putting your work and yourself to the test in this way turns you into a nervous wreck, it's not worth doing. There's nothing wrong with enjoying your quiltmaking without being competitive about it.
SUCCESSFUL QUILTERS GET REJECTIONS TOO
I know that many people will be surprised to learn that even the most successful quilters receive many rejection letters. I hope this knowledge will encourage less experienced quiltmakers to continue with their quiltmaking when rejected. Mary enters many exhibitions and has far more rejections than acceptances, perhaps three rejections for each acceptance. Her track record includes more than one success at Quilt National USA and selection for many other international and Australian exhibitions.
Vickie has won many awards but was frustrated when her wool quilt was not accepted for two exhibitions. It did not seem to fit either traditional or contemporary categories: she wonders if there is a need for another category.
Of course as quilters become more experienced and have a few successes behind them, they tend to enter more challenging quilt exhibitions as well as general textile and mixed craft exhibitions. It is important to remember that the higher one aims the greater the risk of being rejected. The prestigious Quilt National USA 1999 had over 1400 entries with only 89 being selected. It's a great honour to be accepted for an exhibition of this calibre, and certainly no disgrace to be rejected.
IT PAYS TO BE PERSISTENT
All successful quilters are persistent, but if there were a prize it would surely go to Glenys Mann of Tamworth, New South Wales. Glenys had twenty seven rejections in a row before taking stock of the situation. She realised that she hadn't been reading the entry forms properly and wasn't giving her entries enough thought. Most importantly she had the courage and insight to appraise her work honestly, saw that she needed to change her tactics and at once found success.
CAN THE SELECTORS BE WRONG?
Quilts are sometimes rejected from one exhibition then accepted for another. It could be that they were first entered in an exhibition that wasn't appropriate for them. Perhaps it was due to individual differences between selectors. Or maybe it was a genuine mistake on the part of selectors with insufficient knowledge of art quilts. For whatever reason, it is plain that selectors can and do make mistakes. If you think your quilt has been mistakenly rejected, you must accept the decision as final and refrain from complaining to the exhibition organisers. It will achieve nothing, and could count against you in the future.
Jo says it took her a while to get used to rejection, but it's happened so many times she doesn't worry about it now. However, she was quite upset when a client took one of her quilts home on approval, nailed it to the wall, then decided not to buy it! After being repaired, it was later bought by an American TV executive. Hetty had a quilt acquired for the collection of a Russian museum after it was rejected from an Australian exhibition.
My own first rejection in 1973 had both positive and negative outcomes. I decided to enter my first exhibition not really understanding the implications. Turning up at the opening with a friend I felt extremely humiliated when my little patchwork panel was nowhere to be seen. I learned that the 'rejects' were hung at a different venue. My entry was with the rejects because the selection committee thought that it (not a photo mind you), was a piece of curtain material printed with an Op Art design!
Fortunately someone later noticed that it was in fact a novel piece of patchwork and I was immediately invited to conduct workshops and to hold a solo exhibition which was very successful. The same people who had rejected my work were later instrumental in encouraging me to enter craft exhibitions that opened new doors.
A short time later I entered an 'avant garde' quilt in a local textiles exhibition that was supposedly 'cutting edge'. It was rejected, though a rather traditional quilt was accepted. In this case I was able to be more philosophical, concluding – correctly as later events proved - that my quilt was before its time! These were the first in a long list of rejections I've had over the years. Fortunately there have been many acceptances too.
I think that I was upset at the first rejection because it was so public and because there was no prior notification. Since then I have helped to organise many exhibitions and this experience has made me very much aware of the need to keep the whole process confidential and to promptly inform all entrants of their success or otherwise.
DO WE EVER DESERVE REJECTION?
For a number of very successful people I spoke with, the answer was ‘yes’. They believed that in some instances they had not succeeded in making a first class quilt and were occasionally relieved that their work was rejected. Some thought that fast approaching deadlines had distracted them. Others believed that experimental work had not really succeeded. Experimentation and innovation are mainstays of art quiltmaking but since all experimentation is a risk it is crucial to be able to honestly assess the success of your own efforts. Just being original certainly isn't enough.
If you can foster the ability to stand back and be detached about your quilt you are less likely to make bad decisions about how successful it is. It also helps to begin well before the deadline to give yourself time to start again if necessary. It takes practice and a resolve to avoid self deception. It's not easy because flaws in the design of a quilt are not always self evident in the same way as they are in something purely practical like a jug that doesn't pour properly!
CAN REJECTION BE POSITIVE?
I'm really embarrassed about a few of my own quilts that have been selected and in my opinion shouldn't have been. To make matters worse, photos of some of them have been included in exhibition catalogues. Looking at them now, I think that they are not really bad quilts, but they're not good either! Only good quilts enhance your reputation. In the long run the selectors are doing you a favour by rejecting your less successful quilts, though you may not realise this until later!
WHEN ACCEPTANCE IS REJECTION!
Some people experience a kind of rejection whilst apparently being accepted. Trudie entered a quilt in an exhibition. It was well known that though there was no formal selection, the least favoured items were hung as far as possible from the entrance door of the exhibition space. Trudie was mortified to find that her quilt was hung a great distance from the door, and even worse, it was hung out of sight on the back of a cabinet! This was a case of the wrong kind of exhibition for a wonderfully adventurous quilt.
Agatha had just returned from a trip to Japan when I spoke with her. She was disappointed that though her quilt had been accepted for exhibition, it was returned without being hung, along with the quilts of several other Australians who had also been told that they had been accepted.
Edna had two quilts selected for a national mixed craft exhibition in a distant city. By chance she discovered that they were not hung and though she made inquiries, no explanation was ever given. The makers of other quilts selected for the same exhibition – also not hung - were told that there was not enough space available. Incidents like this should never happen.
IMPROVE YOUR CHANCES OF ACCEPTANCE NEXT TIME
- Stay positive and confident. Realise that receiving
rejections is the norm for everyone. Don't let it stop
you from entering another exhibition. Like Glenys Mann,
you can resolve to make it a learning experience by
honestly assessing what went wrong.
- Take the initiative, work at resolving problem areas.
- Is there a possibility that you're entering the wrong kind of exhibition?
- Are you hazy about what's original and what's not?
- Does your design or technique need improving?
- It's important to develop a coherent body of work,
to make your own exciting journey as a quiltmaker.
Are you doing this or just responding to exhibition
opportunities as they come up?
- Is your photography letting you down? Try
taking a course or refer to one of the many
excellent books now available.
- Consider a mentor. You could approach an
established quilt artist with a view to arranging
a kind of apprenticeship in exchange for acting
as her assistant part time for a while. (If you will
be working in someone else's studio, find out first
how you stand legally. For example, will you be
covered by insurance in case of injury or other
- If there are other art quilters in your area, maybe
you could get together and form a group for mutual
support. Many people have done this successfully.
- Is there a critique group nearby? If so, give it a try,
if not consider forming one yourself. The benefits
are truly worthwhile and having your work assessed
by an expert in front of a group isn't nearly as scary
as you'd imagine.
- Broaden your view and hone your skills by taking
master classes with appropriate tutors.
- Consider taking a tertiary arts/textiles course.
Some institutions now make it possible to study no
matter where you live.
- Read widely and attend art quilt exhibitions as well
as other high profile art and craft exhibitions. Absorb
information from websites, magazines, books and
exhibition catalogues local and international. Don't
forget historical quilts, there is much to be learned
- Do all this and you will begin to get a feel for what's
going on in the contemporary art world and where
you and your work fit in.
Be well organised
This all sounds obvious but it's surprising how many people fall by the wayside because they neglect the basics.
- Read the entry form before starting to make
your quilt, note the rules and stick to them.
- Answer every question and keep your statement
to the prescribed length.
- Work out a timetable that allows plenty of time
for designing and making the quilt plus plenty of
time for photography and any necessary processing.
Then allow extra time in case something goes wrong!
- Learn to take good photos or find a professional
photographer, preferably one who has a good reputation
for photographing quilts.
- Avoid being disqualified due to your entry arriving
too late. Make sure you send it off in time to reach
the organiser well before the deadline.
- Don’t ever ask for any favours or expect the exhibition
organiser to change the rules for you. That would be
unethical because it’s not fair to those who have taken
the trouble to abide by them.
- Take the initiative, be honest with yourself, and learn
to be your own most ruthless critic. In the end, only
you are responsible for what you achieve.
SELECTORS AND JUDGES
Though disgruntled rejectees often suspect some kind of favouritism or unfairness, I believe that this is quite exceptional. After all, selectors value their reputations too, and most take pride in doing a good job.
Certainly the ones I spoke with approach their task very seriously. Selectors are aware that it is unfair and inappropriate to bring biased views to the selection process and they make an immense effort to be even handed. In a small place like Australia, it's inevitable that selectors will know some of the quiltmakers whose work they are assessing. It's unavoidable but need not be a major problem. Selectors are conscious that the situation calls for great care and speak of bending over backwards to avoid favouring someone whose work they recognise. But often it’s not recognised; I've been surprised on more than one occasion to learn that I've rejected the work of well known and successful quiltmakers who are personal friends, a painful experience for all, but you can't get more unbiased than that! My own work has also occasionally been rejected by a friend.
Most organisers attempt to minimise the risk of bias by employing a panel of selectors of varied background, usually three in number to avoid a stalemate. Those who are not quiltmakers usually have appropriate specialised knowledge of some aspect of the art world, though they may not know much about quilts. To provide a balance and remedy this deficiency it is usual to include a quiltmaker. If the exhibition is held regularly, there will be a different panel each time. Thus entrants who are rejected by one panel may well be accepted by another. There are variations on this arrangement. Some institutions have a single selector, different on each occasion. Others, perhaps with a particular policy in mind, use their own staff on all occasions.
In fact, we all have biases that we are not aware of. It would be naive to imagine that bias can be totally eliminated, but it can certainly be reduced. In the end, selectors are only human and exhibition entrants need to be realistic about what can be expected of them. The vast majority do approach their difficult task with the utmost care.
Sometimes the identity of selectors is publicised beforehand, sometimes it is not. There are people who decide whether or not to enter an exhibition on the basis of who is on the selection panel. I don't know how effective this strategy is, but I suspect that it's doesn't always enhance the entrant's chances of success.
I hope that these true stories of rejection will help you to feel less isolated and encourage you to keep making quilts, and to keep entering exhibitions. It's quite evident that receiving a rejection letter doesn't mean that a quiltmaker is a failure. Rather, it's a reminder that persistence counts as much as ability and that is very encouraging.
Barbara Macey © 2001
This article is part of a series giving a behind-the-scenes account of exhibitions from the point of view of the exhibitor and of the organiser.
It was first published in Ozquilt Network Newsletter (#40, June 2001), the newsletter of Ozquilt Network Inc, Australia’s organisation for art quilters. The article also appears in the newsletter archive on their website, http://www.ozquiltnetwork.org.au/
Barbara Macey is the Ozquilt Network, Inc. Newsletter Editor,
Website Coordinator and Running Stitch Coordinator
Tuesday, July 24, 2007
Top Ten Tips for Getting into a.....Juried Exhibition, Craft Show, Book or Magazine - 19 pages
"This Professional Guidelines document providesInventory Records: Documentation and Provenance of Your Work - 10 pages
information that can improve an artist’s or
craftsperson’s chances of being accepted into
exhibitions, craft shows, books and magazines—
anywhere that inclusion is decided by a jury. "
"It is critically important to keep accurate andInventory Records Form: Documentation and Provenance
complete records of your work, regardless of
whether that work is production, limited edition,
commission, or one-of-a-kind work. The value of
this information cannot be overstated. The artist’s
INVENTORY RECORD serves as documentation for
the future, establishing the provenance (origins,
exhibition and publishing history) of a particular
piece. This is especially important in the case of
one-of-a kind work which is the work most likely
to be acquired by museums in the future."
Artist Checklist: Exhibitions - 5 pages
"When artwork is exhibited, what are theArtist Checklist: Claims for Damaged Work - 4 pages
responsibilities of the exhibitor? What
are the responsibilities of the artist? What
is fixed and what is negotiable? An artist
should know the answers to certain questions
regarding an exhibition before agreeing to
"Unfortunately, despite everyone’s best efforts,Discounts - 7 pages
artworks are occasionally damaged or destroyed
during shipping or an exhibition. Artists are then
confronted with the process of making an insurance
claim. Who processes the claim depends on who
bought the insurance and when the damage occurred."
"In our society, price establishes worth and value.Fundraising Auctions: Issues & Checklists for Artists - 12 pages
For better or worse, the common denominator in
the marketplace is the dollar, and worth is
measured by what people will pay. It is the job of
both the artist and the gallery to establish the
value of the artist’s work (by virtue of its uniqueness,
craftsmanship, reputation and quality), and remind
people that this worth is reflected in its price. The
price confirms this value. If the selling price is negotiable,
then the discounted price will be the true value, not
the retail price. As a result, it’s in every artist’s interest
to maintain close control over the selling prices of
his or her work."
"This Professional Guidelines topic is intended to more fullyOpen Studios: Artist Checklist - 12 pages
inform artists about the impact of fundraising auctions on
their work and careers, what questions need to be asked prior
to and after donating work, and to recommend how artists
can maximize the benefits when participating in auctions.
Ultimately, we believe, the behavior of the artists can and
should change the way fundraising auctions are conceived
and conducted. "
"An Open Studio event brings the artist and the public
together, it is an opportunity to exposea broad portion
of the community to what it is we do and make. We can
educate them on how and why we build what we do. We
can answer technical questions and address issues
of price and materials. We can even dispel a few myths
and misconceptions. And, of course, we can open the
door to new markets...The following checklist will
help you decide if taking part in such an event would be
personally advantageous and then to help guide you
through the process. These guidelines should be
considered and tailored to the specific needs and
situations of each individual artist or craftsman."
49 X 54.5 inches. Hand dyed and commercial fabrics, beads, twine and findings. Original design. 2001
After September 11, 2001 hate speech ruled the airways and conversations. I wondered why the questions that I had were not being asked. So to answer my own questions I decided to find images of hate symbols to mount on the “jail of hate.” Words printed across the top are synonyms for “other” and fear.
The triangles on striped background were the various Nazi designations for inmates in concentration camps during World War II.
Row 1: Black for asocial, mental cases, lesbians; Britain; Shackles for slavery/incarceration; K is the 11th letter of the alphabet and there are three in KKK; Judaism; Purple for Jehovah Witnesses.
Row 2: Communism; Green for “professional criminal”; Iran; Christianity; Red for “political prisoner”; Confederacy.
Row 3: North Korea; Klan badge designates the “purity” of white blood; Biohazard (quote from William Trent’s diary dated May 24, 1763.); Yellow for Jews; Islam; silhouette of Stealth bomber.
Row 4: Cruise missile; USA; Gavel for justice with quote from G. W. Bush (“WE know he’s guilty”); Lynching; 9/11.
Row 5: Blue for immigrants; Nazi; Pink for homosexuals; General Custer’s personal Guidon; Syria.
Row 6: Iraq; Executive Order 9066 authorizing “internment” of the Japanese during WW II; Little Boy – the atomic bomb dropped on Hiroshima; Brown for Roma (Gypsies).
Printed on the bottom are the words from Rogers and Hammerstein’s “You’ve Got To Be Carefully Taught” sung by Lt. Cable in South Pacific. I changed them as follows:
We’ve got to be taught from year to year,
It’s got to be drummed into our dear little ear –
We’ve got to be carefully taught!
We’ve got to be taught to be afraid
Of people whose eyes are oddly made,
And people whose skin is a different shade –
We’ve got to be carefully taught!
We’ve got to be taught before it’s too late,
Before we are six or seven or eight,
To hate all the people our relatives hate –
We’ve got to be carefully taught!
A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.
To obtain a copy, email her at: email@example.com
3O.5 inches X 35 inches. Commercial cotton and synthetic fabrics, leather. Computer printed on commercial and treated fabrics. Machine pieced and quilting. Original design 2004
In the meantime, death, war, poverty, destruction, terrorism, and environmental degradation happens all around.
41.5 inches X 28.5 inches. Cotton, plastic, Photoshop printed fabric. Machine pieced and quilted. Adapted from a photograph. 2004
30 inches X 46 inches. Photoshop manipulated photos printed on fabric. Machine pieced and quilted. Original design. 2004
On November 7, 2000 of the approximate 156,421,311 registered voters 105,405,100 people voted. Of those votes Al Gore got 50,456,002 and George W. Bush got 50,999,897, meaning Gore won the popular vote.
A DVD documentary of Virginia's work along with video of her commentary is available for $20.00 + S&H. It contains three sections: biographical, political (with artist commentary about each piece), and a retrospective set to music.