A Gallery Director Speaks

Following are links to a three-part interview with Robert Patrick "...who has a long history of curating and producing shows, tours and events, including 12 years as a very successful gallery director at the Walton Street Gallery in Chicago." The focus for this interview is on "...what artists must know about galleries, collectors, selling, and making presentations."

Part I: What Artists Must Know
http://www.artsyshark.com/2010/10/18/a-gallery-director-speaks-what-artists-must-know/

Part II: A Day in the Life

http://www.artsyshark.com/2010/10/22/a-gallery-director-speaks-a-day-in-the-life/
 
Part III: The Psychology of Selling Art
http://www.artsyshark.com/2010/10/26/a-gallery-director-speaks-the-psychology-of-selling-art/

A related interview with Samantha Lewis, Artist Agent
http://www.artsyshark.com/2010/05/18/interview-with-artists-agent-samantha-levin/

Powerful Words of Wisdom to Artists

Joyce Owens is a primarily a painter

but she is also a sculptor and mixed/mutimedia artist.

In her blog she shares some extremely perceptive

words of wisdom that are meaningful for artists working in any medium...

"More than Skin Deep" by Joyce Owens

Acrylic on Canvas on Wood

An Artist's Pain: Being Judged and Juried - "...dilemmas artists wrestle with are many...submitting to exhibitions may be at the top of any top 10 list of things we hate to do, but know we must! I will tell you what I know that could save you from too much pain."
http://monroeanderson.typepad.com/joyce_owens_on_art/2010/07/pain-and-power-the-critique.html#tp

To Mentors/Teachers, Say the One Thing an Artist Needs to Hear - "My message is that it is important to validate that strange, different kid who may live inside his or her head and doesn't march in lock-step with the others. There is possibly an artist, musician, actor, scientist, computer programmer or other creative type living there figuring out the world as they see it! Give him or her permission to come out!"
http://monroeanderson.typepad.com/joyce_owens_on_art/2010/09/well-i-will-never-forget-this-scene-when-i-was-still-a-teenaged-girl-i-was-walking-along-chelten-avenue-near-germantown-a.html#tp

Pay Me Like You Pay for New Shoes - "It is not bad to be rewarded for your efforts. You need money to buy new shoes! It is also about respect. Respect for the time and effort it takes to produce art. Respect for the money artists spend to purchase materials. Respect for the thousands of dollars some artists pay to get their training in traditional, and other art programs. Artists travel to learn, go to workshops and art centers that cost money. Why shouldn't we expect a return on our investment to develop our skills as a doctor or a chef would?"
http://monroeanderson.typepad.com/joyce_owens_on_art/2010/07/pay-me-like-you-pay-for-new-shoes.html#tp

We Have a Museum for Women, Why Not a Man Museum? - "Separate is just not equal and it won't ever be!"
http://monroeanderson.typepad.com/joyce_owens_on_art/2010/03/there-is-no-man----museum-priceless-----sure-feel-free-to-use-my-comments----------j---------joanne-mattera.html

Who Do You Exhibit With, Where and Why? - "I have found that sometimes it's better to respectfully decline an exhibition offer and wait for the next opportunity."

http://monroeanderson.typepad.com/joyce_owens_on_art/2009/02/who-do-you-exhi.html

To view more of Joyce Owens' art:, visit her website

http://www.joyceowens.com/

and her photo page on Black Art in America

http://www.blackartinamerica.com/photo/photo/listForContributor?screenName=1leeh0jjsopky

Fractured Atlas

Fractured Atlas is a support organization that artists need to know about. They offer a broad range of services, but the one I'm most excited about are the online courses geared to provide training in those aspects of business most important for practicing artists. Furthermore, you can take them at your own convenience as well as start and stop as often as you need. Additional courses are being added continually.

A free, basic level of membership (Community Membership) is offered. However, you may well qualify for a regular membership through one or more of the arts organizations to which you belong.

Writing an Effective Fundraising Letter - "Learn basic ingredients for writing a strong fundraising letter and start building a community of donors who will support you and your art for the long haul."
http://www.fracturedatlas.org/u/courses/44

Audio Description: The Visual Made Verbal - "This course will introduce you to the principles of producing quality audio description and the importance of close communication with the end users – people who are blind or have low vision and people who seek to provide greater media access."
http://www.fracturedatlas.org/u/courses/46

Getting Your Sh*t Together - "This course will take you through 10 steps to getting your sh*t together. If you complete these 10 steps, you are well on your way to being ready to engage with the art world and having a handle on just what else you need to figure out."
http://www.fracturedatlas.org/u/courses/40

Professional Identity: Demystified - "This course walks you through some basic steps to clarify your professional identity, which will lay the foundation for all of the strategic planning work to come."
http://www.fracturedatlas.org/u/courses/37

Fundraising: Demystified - "Producing art is generally not inexpensive. So, how do we go about paying for the work that we want to produce? We fundraise!"
http://www.fracturedatlas.org/u/courses/35

 Marketing: Demystified - "As an artist or arts organization, you have to be able to market your creative offering. Learn about marketing basics like market research, segmentation, positioning, distribution, and promotion of your creative offering."
http://www.fracturedatlas.org/u/courses/34

Presentation Venues - "This course on artistic venues is primarily geared towards visual artists and those working in a multidisciplinary nature. However, all artists can find some information to take away. We list the pros, cons, and how to research all kinds of spaces."
http://www.fracturedatlas.org/u/courses/39

Social Media Marketing for Arts Professionals - "This course will introduce social media marketing to those who are relatively unfamiliar with the subject. It’s friendly to those who are new to social media, marketing, or both. (But seasoned marketers who’d like to brush up are also welcome!)"
http://www.fracturedatlas.org/u/courses/41

All the Accounting You Need to Know - "In this course, you will gain an understanding of basic accounting principles — with minimal jargon — to prepare you to work with an automated accounting system (such as QuickBooks) for your artistic business."
http://www.fracturedatlas.org/u/courses/50

Personal Financial Planning for Artists - Peace, Love, and Financial Planning - "Using the case study method, we’ll go through a process, introduce some techniques and vocabulary, so that you can find the right way to become comfortable with this important topic."
http://www.fracturedatlas.org/u/courses/48

Independent Contractors vs Employees: What's the Difference - "Do you know what makes an employee different than an independent contractor? Did you know you can be charged back taxes if you misclassified the artists you pay? Learn the rules in this 70 minute video workshop!"
http://www.fracturedatlas.org/u/courses/52

The Jury Process - An Inside View

"What do people really think when they get your grant application?" - Artist at Large

This article is by a juror/panelist for the visual art grant applications of a regional Arts Council:
http://vercauteren.wordpress.com/2010/08/11/the-jury-process-an-inside-view/

Potpourri of Info About: Selling/Talking About Your Art

"Your art isn’t for everyone.

Once you understand this, you’ll have an easier time

finding the people who appreciate your work."

Alyson Stanfield

The following articles provide valuable information and tips

about factors that can make a big difference in

how successful you are in marketing your art...

Brag Better About Your Art, About You - Alyson Stanfield
http://www.artbizblog.com/2010/08/bragbetter.html

Putting Your Art on Sale - Alyson Stanfield
http://www.artbizblog.com/2010/06/artonsale.html

5 Things to do After Selling an Artwork - Eric Smith
http://artexpola.com/2010/07/5-things-to-do-after-selling-an-artwork/

Should You License or Assign Your Art - Richard Sim
http://www.nolo.com/legal-encyclopedia/article-30267.html

How Not to Sell Your Art
http://www.artbusiness.com/hownot.html

The Art of Self-Promotion for Visual Artists - Barney Davey
http://www.artprintissues.com/2010/07/the-art-of-self-promotion-for-visual-artists.html

Marketing Art on Commission: Tips for Artists
http://www.artbusiness.com/privcom.html

The Art of the Home Show: Six Ways to Close More Home Sales - Eric Smith
http://artexponewyork.com/2009/09/the-art-of-the-home-show-six-ways-to-close-way-more-sales/

Pricing 101: Best Practices for Independent Artists - Eric Smith
http://artexponewyork.com/2009/10/pricing-101-best-practices-for-independent-artists/

Hanging Art: Tips and Tricks - Eric Smith
http://artexponewyork.com/2009/11/hanging-art-tips-and-tricks/

What to do Before, During and After an Art Trade Show - Eric Smith
http://artexponewyork.com/2009/11/what-to-do-before-during-after-an-art-trade-show/

People Need Help Buying Art, So Help Them
http://www.artbusiness.com/orvvt.html

You Can't Sell Your Art Until You Learn How to Sell It
http://www.artbusiness.com/consultpurp.html

Why do People Buy Art - Kathy Gulrich
http://www.smartbusinesscoaching.com/article_whybuyart.html

Professional Identity

These articles should be required reading for all artists!

Professional Identity: Who Are You? and What Do You Do? - Kamal Sinclair - "...knowing who you are in simple terms is the key to obtaining meaningful success."

http://www.fracturedatlas.org/site/blog/2008/10/08/professional-identity-who-are-you-and-what-do-you-do/

The Art of Going Pro: An Identity Crisis - Bill Weaver - "The lan­guage we use to describe our­selves, what we do, how we do it and how we frame our responses to deci­sions, is directly related to how we are in the world and how oth­ers expe­ri­ence us…it seals our iden­tity and in turn describes our vocation."
http://www.theartistscenter.com/the-art-of-going-pro-an-identity-crisis/2010/03/

Professionalism in Practice…Setting the Stage - Bill Weaver -"...being a pro is a mindset, a way of seeing life and the world."
http://www.theartistscenter.com/professionalism-in-practice-setting-the-stage/2010/05/

Four Elements that Define a Pro - Bill Weaver -"The real secret the professional holds is the knowledge that a personal best is just a point on a long continuum of growth and insight and not a destination."
http://www.theartistscenter.com/four-key-elements-that-define-a-pro/2010/04/

Getting Started on the Right Foot: Part I - "An important point here is to understand the connection between how you see your business and how it actually is."
http://www.theartistscenter.com/how-to-get-started-on-the-right-foot-part-1/2010/02/

Getting Started on the Right Foot: Part II - Bill Weaver -"...focus on the business end of making a living from your art by taking a look at some best practices."

http://www.theartistscenter.com/getting-started-on-the-right-foot-part-ii/2010/02/

Getting Started on the Right Foot: Part III - Bill Weaver -"Start investing in yourself because you are your business."
http://www.theartistscenter.com/getting-started-on-the-right-foot-part-iii/2010/02/

Getting Started on the Right Foot: Part IV - Bill Weaver -"These next steps rely heavily on your having some idea of where you want to be and the strategies that will get your there."
http://www.theartistscenter.com/getting-started-on-the-right-foot-part-iv/2010/02/

The Art of Going Pro: Living Professionally I - Bill Weaver -"The pro knows that change is constant and that attaching himself to a particular outcome is a distraction because the future cannot be controlled. So instead of worrying about whether something will or will not happen he does he focuses his efforts on the present because he can control the present."
http://www.theartistscenter.com/the-art-of-going-pro-living-professionally/2010/04/

The Art of Going Pro: Living Professionally II - Bill Weaver -"...the point of this exercise is to give us as artists, especially visual artists, a code made up of behavioral and visual elements to build our own artistic identity on."
http://www.theartistscenter.com/the-art-of-going-pro-living-professionally-ii/2010/04/

The Art of Going Pro: The Missing Piece - Bill Weaver -"Clarity is important to identity and identity helps others when they are sorting out where you belong in their minds."
http://www.theartistscenter.com/the-art-of-going-pro-the-missing-piece/2010/04/

Your Artistic Voice or Style

"I think finding your voice is making the implicit explicit.
It is making what you already know on a subconscious level conscious and repeatable."
 Jessie Carty


At one time or another, we all as artists have expressed concern about whether or not (and the extent to which) our artwork is readily identifiable as our own; about whether or not we have found our artistic "voice" or have developed a recognizable "style". I know I've found my voice, but identifiable style...I'm not so sure. Frankly, I've stopped worrying about it.

Following are several excellent articles on this topic...

How to Develop Your Artistic Style - This article has good tips, including, "Look around at whatever trend is happening in your artistic medium. Brainstorm on what the exact opposite of that cliché and play with that idea...This trains your brain to think in another way and makes your art fresh and unique."
http://news.deviantart.com/article/42054/  

How do you find your own style without adopting the style of your teachers? - answered from the perspective of painting, but completely relevant for textile artists - "...look for the unique aspects in your own art—and at first it will definitely be the flaws, or the things you think aren’t quite right. Maybe your perspective is a little strange, or you tend to create extra dark shadows. . . then think about whether you’d like to emphasize that aspect of your work, or eliminate it."
http://emptyeasel.com/2007/03/14/art-question-answer-how-to-find-your-own-artistic-style/
 
How Do You Find Your Own Art Style? - Amanda Seydahelm - examines the four elements she thinks are key - included is this one: "Ponder A Big Question...If you find yourself comparing your art with other artists it may be that your question isn’t clear enough or big enough to engage you fully. Stretch yourself."
http://quazen.com/arts/how-do-you-find-your-own-art-style/
 
Developing Your Artistic Voice - J L Blackwater

Introduction - "...just like children don’t come from the stork, an artist’s voice is not dropped off on the doorstep one night, all perfectly preformed and powdered in a tidy package with a bow on top."
http://brainripples.wordpress.com/2007/03/06/developing-your-artistic-voice-introduction/

Artistic Voice Part 1: Listening - "Artists can use careful observation of themselves, their world, their fellow artists, and their own thought processes to help sculpt their own voice. By listening carefully and often, an artist gains clarity on what precisely s/he wants to say with their work."
http://brainripples.wordpress.com/2007/03/30/artistic-voice-part-1-listening/

Artistic Voice Part 2: Practice - "Drafts and practice attempts provide clues that reveal the answer to WHY we create (beyond simply being “compelled to do so”), which can help us cultivate our artistic voice. When we understand what sparks our need to create, our voice can gain clarity and strength through a sense of purpose."
http://brainripples.wordpress.com/2007/06/13/artistic-voice-part-2-practice/

Finding Your "Voice" - Leni Wiener
http://blog.leniwiener.com/?p=475

Finding Your Voice - Kathleen Loomis

Part 1
http://artwithaneedle.blogspot.com/2010/03/finding-your-voice-part-1_1877.html

Part 2
http://artwithaneedle.blogspot.com/2010/03/finding-your-voice-part-2.html

10 Ways to Infuse Your Work With Your Personality - Keri Smith
http://www.kerismith.com/blog/10-ways-to-infuse-your-work-with-your-personality/
 
What Type of Artist are You? What is Your Function? - James Hart - "Artists can play many roles in our society and have, throughout history, been thought to exist somewhere between high priest and prostitute."
http://blog.entrepreneurthearts.com/2009/09/09/what-type-of-artist-are-you-what-is-your-function/   

Ten steps to finding your artistic voice - James Hart
http://blog.entrepreneurthearts.com/2009/08/26/ten-steps-to-finding-your-artistic-voice/

Dealing with Procrastination

Last week there was a post about effective artist habits.

This week, the post is about a very ineffective habit in which many artists indulge - Procrastination

.

"I tamed my personal art demon – the tendency to think about painting rather than actually painting – by throwing the stuff on the blank paper and telling myself I didn't care about the end result.

I believed it and was saved."

Rich Hawk

.

"I don't wait for moods. You accomplish nothing if you do that.

Your mind must know it has to get down to work."

Pearl S. Buck

.
Procrastination Videos - You'll really enjoy these!

Video 1 - Procrastination - John Kelly - 4 minute video

http://www.youtube.com/watch?v=UXziurFkQxM
Video 2 - "Procrastination" Tales of Mere Existence - Lev Yilmaz - 1 1/2 minute video
http://www.youtube.com/watch?v=4P785j15Tzk&feature=player_embedded  

          Video 3 - Overcoming Procrastination - Susan Gregg - 3 1/2 minute meditation video
          http://www.artofallowingclass.com/video/overcoming-procrastination  

Video 4 - Here and Now: Procrastination - Ellen Degeneres - 3:50 minute video
http://www.youtube.com/watch?v=vU-0bF_sSas&feature=player_embedded#

Understanding and Overcoming Procrastination - Linda Dessau
http://www.genuinecoaching.com/articles/understanding-procrastination.html
.

Unlearning the Art of Procrastination
http://coachcreative.com/abigcreativeyes/2010/03/14/unlearning-the-art-of-procrastination/
 .

The Little Guide to Beating Procrastination, Perfectionism and Blocks: A Manuel for Artists, Entrepreneurs, Academics and Other Ambitious Dreamsers - Hillary Rettig - 87-page free e-book - "The reason we have trouble overcoming procrastination is that procrastination is a sneaky, stealthy, doesn’t-fight-fair adversary. As you will see, it is expert at disguising itself and its effects, and at misleading you into trying the wrong solutions."

PDF version
http://lifelongactivist.com/wp-content/uploads/2010/02/The-Little-Guide-to-Beating-Procrastination.pdf .
Rich Text version
http://lifelongactivist.com/wp-content/uploads/2010/02/The-Little-Guide-to-Beating-Procrastination.rtf

Structured Procrastination
http://www.structuredprocrastination.com/

Effective Artist Habits

Periodically, okay I confess - frequently, I find myself simply spinning my wheels and not actually accomplishing much of anything. I'm fully aware that its mostly because I have acquired and practice some non-productive habits.

Hope that's not your modus operandi. But if it is, the following might be helpful: 

Artist Habits of Mind
http://opd.mpls.k12.mn.us/uploads/T-ARTIST_HABITS_OF_MIND.pdf

7 Habits of Highly Effective People: The Art World Edition
http://www.fineartsla.com/7-habits-of-highly-effective-people-the-art-world-edition.html

Studio Thinking Framework: Eight Habits of Mind
http://www.pz.harvard.edu/research/StudioThink/StudioThinkEight.htm

6 Habits of Highly Effective Artists
http://www.artbizcoach.com/6habits.pdf

Ten Habits of Successful Artists
http://www.nyfa.org/level4.asp?id=162&fid=1&sid=51&tid=197
 
Overwhelmed in the Studio? Check Your Work Habits
http://www.finearttips.com/2009/03/overwhelmed-in-the-studio-check-your-work-habits/

Artists Need to be Wary

"A vanity gallery is an art gallery that charges artists fees to exhibit their work
and makes most of its money from artists rather than from sales to the public.
Some vanity galleries charge a lump sum to arrange an exhibition,
while others ask artists to pay regular membership fees and then
promise to organise an exhibition with a certain period." Wikepedia

"A vanity gallery is one that charges artists fees in order to exhibit their work.

The shows are not legitimately curated and will include as many artists
as possible. Most art professionals are able to identify them
on an artist's resume." NationMaster.com 

But vanity galleries aren't all we need to be concerned about -
there are vanity art shows and "competitions" as well...

The Vanity Gallery - Joanne Mattera
http://joannemattera.blogspot.com/2009/05/marketing-mondays-vanity-gallery.html

Vanity  Gallery - This site posts a list of well-known vanity galleries/exhibitions along with the participation fee the artist must pay upfront. [Note - and you think $25 exhibit fees are exorbitant???]
http://www.statemaster.com/encyclopedia/Vanity-gallery

Vanity Galleries: Pay to Play at your own Risk - Renee Phillips
http://www.manhattanarts.com/readingroom/ezine/CareerBusiness/Renee_Pay.htm

Art Contests, Competitions, Shows and More-- Will They Get You Somewhere or Are They Dead Ends, Time Wastes or Scams? - The title says it all. This article goes into detail about an incredible variety of things on which you should not waste your time and money trying to advance your recognition as an artist.
http://www.artbusiness.com/osoqutscawas.html

COMMENTARY: Disrespect of Artists by Artists

"I rarely lose my temper, and only then when someone talks down to me,

or when I see people treating other people with disrespect."

Sandra Bullock [emphasis added by me]

Many posts to various lists from time to time reference disrespect shown to textile artists – primarily in terms of the way textile art is returned from venues (e.g. crammed into too small boxes; box being poorly sealed; etc.), the way textile art is sometimes displayed at venues, and the lack of security at some venues which has allowed the artwork to be stolen, mutilated (in one instance a piece was slashed to steal an antique button), or fingered. This is aside from the general lack of respect for the medium itself that often is encountered.

While all of these and similar incidences are distressing, it is the utter lack of respect that textile artists sometimes display toward each other that I find to be particularly disturbing. A recent occurrence provides a good example of this.

The venue for a highly publicized and critically acclaimed exhibit held a reception that was attended by 65 of the artists (who flew in from all over the country) as well as by more than 600 guests. The energy and excitement was palpable.

What is unbelievable is that several of the artists brought with them to the reception work that they had created for a totally unrelated exhibit and had the audacity as well as the unmitigated gall to proceed to display them on the floor of the exhibit space. This not only: 1) blocked access to the artwork that was legitimately part of the exhibition; 2) intentionally deflected attention away from the art that viewers came to see; but also 3) confused viewers because the subject matter clearly did not relate to the theme of the exhibition.

The brazenness and absolute arrogance with which this occurred is astounding (those extra quilts clearly did not bring themselves to the exhibit, they did not position themselves in the exhibit space, and no permission to do so was sought). The impertinence of it all and the contempt this action expressed toward the museum, the artwork on exhibit, the other artists and the curator is reprehensible. How low can you sink? How self-serving and narcissistic can you be? How pathetic is the need to stroke one’s own ego at the expense of fellow artists?

What possible rationale could these offenders offer that would justify this offensive and discourteous behavior? From my perspective, there is none. What I wonder is if such a cavalier attitude would have been displayed if the exhibit venue had been…

1. The Renwick or Quilt National?
2. The High Museum or the National Quilt Museum?
3. The Museum of Modern Art or the International Quilt Study Center and Museum?
4. The Museum of Arts and Design or the San Jose Museum of Quilts and Textiles? 
5. The Philadelphia Museum of Art or the Rocky Mountain Quilt Museum?

I think not.

I still find myself in the throes of utter disbelief that this occurred. Not only was it highly offensive to all parties affected, it was extremely unprofessional.

I believe that quite a few people are owed a sincere and abject apology.

Tax Preparation and Planning for Visual Artists

Its that time of the year again - sigh.

The last time information about tax information for visual artists was posted to this blog was three years ago. Its time for an update and access to some additional information. A few resources for some international artists have also been found.

Also: Don't forget to check with your state and local arts organizations - at this time of year they often have free or very low cost tax workshops available that are designed to meet the specific needs of artists.

TAXATION AND TAX DEDUCTIONS FOR THE SELF-EMPLOYED VISUAL ARTIST - Peter Jason Riley, CPA (senior partner of the CPA Firm of Riley & Associates, PC) - This is still a fantastic resource!
http://www.artstaxinfo.com/artists.shtml

Worksheets:

          1.  Expense Checklist for Visual Artists
               PDF version: http://www.artstaxinfo.com/office.shtml
               Excel Worksheet version: http://www.artstaxinfo.com/ARTIST/VISUAL~1.XLS

         2.  Income Worksheet for Visual Artists
              PDF version: http://www.artstaxinfo.com/ARTIST/ARTIST~1.PDF
              Excel Worksheet version: http://www.artstaxinfo.com/ARTIST/INCOME~1.XLS

         3.  12 Month Expense Worksheet for Visual Artists
              Excel Worksheet format: http://www.artstaxinfo.com/ARTIST/12MONT~1.XLS

  

       How to Deduct Your Home Office and/or Studio

       http://www.artstaxinfo.com/office.shtml
.

       Self-Employment Tax Basics  

       http://www.artstaxinfo.com/basics.shtml
.

       Glossary of Tax, Business, & Financial Terms Written in Plain English

       http://www.planningtips.com/Planning_Tips.asp?Co_ID=110208&Tip_ID=6870
.
       Hobby or Business...Is Being an Artist a Business?
       http://www.microcreditnh.org/artworksnh/pdfs/LanguageLessons.PDF
.

Peter Jason Riley's book (2010 Edition), The New Tax Guide for Writers, Artists, Performers and Other Creative People is available. Full information about it can be found on the following link:

http://www.artstaxinfo.com/buy.shtml
.

NOTE: I have no affiliation
.
.

BARTERING - Have you been thinking about doing this as a way to get around income taxes?
.

Bartering Art? Don't Forget the Tax Man 
http://www.artbusiness.com/barter.html

Do You Trade or Barter? Don't Mess with the IRS - Excepted from Artist Trust's Journal - Heather Joy Helbach-Olds 

http://www.artisttrust.org/pro_resources/prof_dev/barter

 Record Keeping for Business Barter Transactions - IRS Publication 

http://www.irs.gov/businesses/small/article/0,,id=215975,00.html

OTHER RESOURCES:
.

Filing for Artists - Stephen J. Drahos - "This article will explain the various types of taxes affecting an artist and give some general guidelines on certain pitfalls to avoid." 

https://artistsregister.com/resource2.phtml?resourceId=16

Taxation of the Visual and Performing Artist 2009 - Michele M Stanton, CPA - Prepared for TALA (Texas Accountants and Lawyers for the Arts)
http://www.talarts.org/Publications/TALAIncomeTaxforArtists2009.pdf

Possible Allowable Business Deductions for Visual Artists - Visual Art Exchange
http://www.visualartexchange.org/forms/taxdeductions_10.22.09_alexlehmann.pdf

Tips for Doing Your Taxes: Is Your Art a Business? - Visual Art Exchange handout based on a lecture by Alex Lehmann as part of their Business of Being an Artist series
http://www.visualartexchange.org/forms/Doing%20Your%20Taxes_1.12.10.pdf

Artist Stiffed by Gallery Wants Tax Write-off - George Saenz, CPA
http://www.bankrate.com/brm/itax/tax_adviser/20080219_business_loss_a1.asp

.

INTERNATIONAL TAX POLICIES:

Tax Policies for Visual Artists in Canada
http://vivacorp.org/tax-policies-for-visual-artists-in-canada/

Visual Arts (Canadian) Tax and Business Information
http://www.ontarioartist.ca/en/visual_tax.htm


Revenue, Irish Tax and Customs: Artists Exemption
http://www.revenue.ie/en/tax/it/reliefs/artists-exemption.html 

          Artefacts: the Arts and Tax [Australia] - A practical tax workbook that is designed to assist artists and arts organisations with the tax system           http://www.australiacouncil.gov.au/research/artists/reports_and_publications/artefacts_the_arts_and_tax

Photographer Claiming Copyright - How to Prevent

Quilts, Photographs and Galleries - Paul Sugden - This article was written for The Australian Forum for Textile Arts. In it, Sugden discusses an issue that arose with a photographer who was hired by a gallery to take photos of an exhibit. The photographer susequently published the photos of the quilter's artwork on his own website, claiming he had copyright of the photos.

Sugden provides a clause that artists should require to be inserted in any contract that a gallery or other venue has with a photographer. NOTE: artists could also amend it for insertion in the general publicity permission statement they sign with venues for exhibitions.
http://www.tafta.org.au/Pauls_work/PS_84.html

Branding for Artists

"...branding is important because it allows your art, your lifestyle, and your passions to be displayed as a uniform strategy. It is a "holistic" approach to your art that allows a symbiosis between your personality and your artistic expression."  from How to Create an Artist's Brand 

How to Create an Artist's Brand - Kelley Stevens
http://www.nowpublic.com/style/how-create-artists-brand

Branding 101 for Artists: How to Create a Strong Brand for Yourself and Your Art - Gregory Peters
http://emptyeasel.com/2009/03/02/branding-101-for-artists-how-to-create-a-strong-brand-for-yourself-and-your-art/

Branding: The Importance of Name Recognition - Jennifer Walling
http://artcafe.net/?p=174

Is Branding Important for Artists? - Olga Slavkina
http://www.schmoozyfox.com/2009/10/is-branding-important-for-artists/

What Do We Have to Say? - Barrett Yeretsian
http://artistempowerment.com/what-do-we-have-to-say/

Diving Deeper in the Ocean of Your Brand - Barrett Yeretsian
http://artistempowerment.com/diving-deeper-into-the-ocean-of-your-brand/

The Artist and the Brand - Jonathan E. Schroeder (This is an abstract of a paper in the European Journal of Marketing - click the "One-Click Download" link at the top of the page to download the full article to your Adobe pdf reader).
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=690270

Social Media Branding for Artists - George Aiello

Part 1
http://www.artistpresentations.com/blogs/george/616/social-media-branding-artists-part-1

Part 2
http://www.artistpresentations.com/blogs/george/788/social-media-branding-artists-part-2

Brand Yourself as an Artist on Twitter - Lori McNee
http://www.finearttips.com/?p=1809

Public Art Handbooks/Guides

Public Art Commissions are an often overlooked area of opportunity - but information about how to enter into this arena and/or how to have one's artwork seriously considered is needed. The following resources provide some very useful and insightful guidance:

Public Art Commissions: An Artist Handbook - North Carolina Arts Council - This handbook offers practical advice to artists seeking a public art commission and includes samples of "calls to artists," proposal letters and what to expect during the interview. Information about budgets and contracts also are included.
http://www.ncarts.org/elements/docs/PublicArtistHandbook.pdf

Managing Public Art Projects: A Handbook for Artists - Although written for UK artists, a wealth of information and exercises are included which can be very useful for artists interested in pursuing public art commissions anywhere. It notes that: "Public art offers many opportunities for artists, but it also challenges them to develop skills in addition to those required in many other forms of visual arts practice. Public art tends towards working practices which involve co-operation, negotiation and an interface with others, particularly professionals, who are not necessarily used to working closely with artists."
http://publicartonline.org.uk/resources/practicaladvice/adviceartists/documents/ArtistsHandbookOct2006.pdf
Notes for the Public Artist: What's expected of a public artist? - Douglas MacCash - this is a very short put pointed article about what an artist should consider trying to enter the public art arena
http://www.crt.state.la.us/arts/publicart/handbook/appendix/APX_Guide_Notes_Artist.htm

An Artist's Guide to the Phoenix Public Art Program - Phoenix Office of Arts and Culture - "This guide presents general information regarding professional issues that artists may encounter working in public art, as well as specific information how City of Phoenix public art commissions are managed by the Phoenix Office of Arts and Culture's Public Art Program. This guide attempts to address the most frequently asked questions about the program."
ftp://phoenix.gov/pub/payf/artguide.pdf

Art in Public Places Public Artist Handbook: A Guide to the Commission Process - Washington State Arts Commission
http://www.arts.wa.gov/public-art/documents/Public-Artist-Handbook.pdf

What to Ask Before Applying for a Public Art Commission - This is an article by Regina Chavez Chapman that was published in the New Mexico Art in Public Places Newsletter
http://www.nmarts.org/pdf/nm_arts_junejuly.pdf

NOTE: Public Art 4Culture compiles a list of current public art opportunities available across the country and internationally. The Public Art Calls List provides brief project descriptions, deadline dates and how to receive more information about each opportunity. It is distributed approximately every 2 months. You can sign up to receive the list via e-mail on the following site:http://www.4culture.org/publicart/calls/default.asp

Estate and Legacy Planning for Artists

For those of us who are over 60, how we and our art will be remembered becomes increasingly important with each passing year. Our own demise is not a pleasant topic to consider, but we have to face the reality that at some point we are actually going to die - and when that occurs, what then will happen to our life's work? Its within our control if we make plans. Following are sites with great information on this subject that is written specifically to address the concerns and the needs of artists.

A Visual Artist's Guide to Estate Planning - A post to the blog about this valuable resource was made in September of 2007. However, changes in the applicable state and federal tax laws and the copyright law have made it necessary for them to publish an update to certain chapters in Part II and the Appendices.
http://sharpeartfdn.qwestoffice.net/supplement/supdownload_page.htm

2008 Supplement Updatehttp://sharpeartfdn.qwestoffice.net/estateplnbook/download_page.htm

___________________

Where There is a Will: Estate Planning for Artists - "This document looks at the range of options available to visual artists in dealing with their work during their lifetime, and information about making a will so that an artist's art work legacy is dealt with according to his/her wishes after death. "Where There's a Will" answers questions and gives guidance about when to seek expert advice and from whom."

NOTE: This is written for Australian artists, however a lot of the information is pertinent for artists living in other countries; for example, there is a section on why you should make an inventory of your artwork.
http://www.visualarts.net.au/files/Will.pdf
_________________________

Leaving a Legacy: Donating Quilts to Museums - Andi Reynolds - she writes: "For many quilters and quilt collectors, quilting is about legacy, whether warm generational memories or mysterious auction finds. Because most quilters create their quilts for family, friends or charity, you might wonder how quilts end up in museums. Although donations from well-known collectors make the quilt world news, most museums build their collections as individual donors give one or two quilts to preserve their own legacies. Where do you come in?"

This article gives information about museum acquisition policies; how to make a donation; how the condition, significance and provenance of the quilt(s) will impact the museum's decision about accepting the donation; and legal and tax considerations.
http://www.saqa.com/news/DonatingQuilts.aspx
NOTE: URL has changed. New URL is: http://www.saqa.com/information.php?ID=366
_________________________

Leaving Your Artistic Legacy - Craig Lucas - This is his 2008 commencement address to graduates of the Boston University College of Fine Arts
http://www.huffingtonpost.com/craig-lucas/leaving-your-artistic-leg_b_102332.html
___________________________

Checklist for Planning Your Art Estatehttp://www.artbusiness.com/estateplan.html
____________________________

Estate Planning For Artists: Let Professionals Manage the Arthttp://www.artbusiness.com/estate.html
_____________________________

SENIOR ARTISTS INITIATIVE - "The purpose of the Senior Artists Initiative is to assist senior artists in understanding the need for, and processes involved in, organizing their life's work, and to develop programs that provide recognition for senior artists." This organization has made available the following articles that deal specifically with the issues of what artists need to know about estate planning.
http://www.seniorartistsinitiative.org/01_about_sai/about_01.html

Estate Planning for Artists - "Estate planning should not be considered a process impossible to understand and not worth the time spent. Much can be achieved with a few hours of work. The result will be that the burden on the next generation will be greatly lessened and the taxes imposed at death may be substantially reduced."
http://www.seniorartistsinitiative.org/01_about_sai/guidelines_louis.html

What Will Happen to Your Art After You Die? - "Many things can happen to the art after the artist’s death, depending upon how well the artist has planned for this event."
http://www.seniorartistsinitiative.org/01_about_sai/guidelines_fuller.html

Plan Ahead - "What can artists do when they are alive? Organize, Edit, and Disperse = PLAN"
http://www.seniorartistsinitiative.org/01_about_sai/guidelines_tarantal.html

Approaching Museums - "The following items may be of interest to the artist who wishes to interact with a museum with thoughts of placing works into its permanent collection, either through purchase, gift, or bequest."
http://www.seniorartistsinitiative.org/01_about_sai/guidelines_schantz.html

Where there's a will, there may be a Monet: Artists can safeguard their legacy with savy estate planning - “When an artist dies, the inheritor has to either decide to throw it all away, or try to sell it – which is difficult – or give it to nonprofit organizations,”
http://www.seniorartistsinitiative.org/05_documents/where_theres_a_will.pdf

What do Inheritors do with Art Work? - "Most artists are very resistant to sorting through their work in order to decide what to keep, what to throw away, what to give to institutions. This creates a dilemma after an artist’s death, as it leaves painful decisions about the distribution of the work to the spouses, family members, or executors. Failure to sort through and distribute works during an artist’s lifetime has resulted in work being stored for years; large numbers of the work going on the market and selling for very little; or the work just disintegrating in a damp, too hot or too cold basement or attic."
http://www.seniorartistsinitiative.org/01_about_sai/guidelines_kaplan.html

Visual Artist Mentor/Mentee Programs

"More than mere teachers, mentors are often emancipators, freeing artists from poor technique, clouded vision and personal uncertainty." Paul Soderberg

.

Participating in a critique program is often useful to artists when trying to determine if a specific artwork has been successfully executed. The goal for participating in a mentoring program, however, is much broader and is usually focused on developing or strengthening specific aspects of the artist’s career. Mentors generally share wisdom, skills and experience in those areas most desired by the mentee which can range anywhere from learning how to effectively network to how to make gallery connections to how to organize a studio.

Usually a prospective mentee has to be lucky enough to stumble into a mentoring relationship. Other artists are fortunate to live in locations where formal mentoring programs are available - these require long-term face-to-face interaction between mentor and mentee.

Listed below are resources that can be invaluable for anyone considering entering into a professional relationship as mentor or mentee, or for anyone who may be thinking about establishing a formal program. Included also is information about a couple of online mentoring programs.

Textile Center Mentoring Program – “Textile Center Mentor Program is designed to facilitate the development and achievement of artistic and business goals set by emerging artists. This growth is fostered through a supportive one-on-one relationship with a mentor, who is a professional artist working in the field of fiber. The program supports the advancement of each protegeÕs techniques in their own media through instruction and critique, enriching both understanding and advancement of their work. Participants in this program will build confidence in their work and their role as a working artist in the community at large. The close working relationship between mentor and protege as well as the opportunity to be a member of the mentor-protege group empowers and encourages each artist to take risks and work toward future goals.”
http://www.textilecentermn.org/mentor.asp

.....2009 - 2010 Brochure
.....http://www.textilecentermn.org/pdf/ProtegeCFE0910.pdf

.....Protégé Application
.....http://www.textilecentermn.org/pdf/ProtegeCFE0910.pdf

Studio Art Quilt Associates (SAQA) – SAQA instituted a series of internet based mentoring sessions on career related issues for its membership in the form of monthly conference calls. Sessions are taped to allow members access at any time. Topics have ranged from how to promote oneself as an artist to how to work with galleries to how to write for magazines, among others. Future topics will range from how to create an effective portfolio to creating a legacy. To join SAQA: http://saqa.com/

Women’s Art Registry of Minnesotra (WARM) Mentor Program – “The WARM Mentor Program is a supportive resource that pairs emerging and professional women artists for two years. Each Protégée directs the process of selecting her mentor, identifying her goals and tracking her progress. Mentors share wisdom and skills while providing supportive critique.”
http://www.thewarm.org/pages/mentorprogram.php

.....Guidelines for Mentors
.....http://www.thewarm.org/pdf/2009MentorGuidelines.pdf

.....Guidelines for Protégés
.....http://www.thewarm.org/pdf/2009MentorGuidelines.pdf

.....Mentor Program Application
.....http://www.thewarm.org/pdf/2009-10MentorApp.pdf

.....Mentor Program Questionnaire
.....http://www.thewarm.org/pdf/Questionnaire09-10.pdf

.....Mentor Program Time and Cost
.....http://www.thewarm.org/pages/timecost.php

Ilinois Arts Alliance Foundation Mentoring Program - This is a very developed and detailed program that is supported in part by a grant from the National Endowment for the Arts
http://www.artsalliance.org/tool_men_index.shtml

.....Some of the extensive information and forms that can be accessed on this site include:

Mentor-Mentee Partnership Contract
.....http://www.artsalliance.org/docs/men_toolkit/Mentoring%20Contract.pdf

Mentor Training Session Agenda
.....http://www.artsalliance.org/docs/men_toolkit/Mentor%20Training%20Session%20Agenda%20Sample.pdf

Mentee Training Session Agenda
.....http://www.artsalliance.org/docs/men_toolkit/Mentee%20Training%20Session%20Agenda%20Sample.pdf

Mentor Assistance with Goals Setting Tip Sheet
.....http://www.artsalliance.org/docs/men_toolkit/Mentor%20Assistance%20with%20Goal%20Setting%20Tip%20Sheet.pdf

Mentee Assistance with Goals Setting Tip Sheet
.....http://www.artsalliance.org/docs/men_toolkit/Mentee%20Goal%20Setting%20Tip%20Sheet.pdf

Making the Most of Your Mentoring Relationship Tip Sheet
.....http://www.artsalliance.org/docs/men_toolkit/Tip%20Sheet%20Making%20the%20Most%20of%20Your%20Mentoring%20Relationship.pdf

Personal SWOT (Strengths/Weaknesses/Opportunities/Threats or Obstacles) Analysis
.....http://www.artsalliance.org/docs/men_toolkit/Tip%20Sheet%20Personal%20Swot%20Analysis.pdf

First Meeting Agenda
.....http://www.artsalliance.org/docs/men_toolkit/Tip%20Sheet%20First%20Meeting%20Agenda.pdf

What Qualities Make One a Good Mentor
.....http://www.artsalliance.org/tool_men_mentors.shtml#mentor2

What Qualities Make One a Good Mentee
.....http://www.artsalliance.org/tool_men_mentors.shtml#mentee

MAWA (Mentoring Artists for Women's Art) - This is a Canadian group whose focus is "To encourage and support the intellectual and creative development of women in the visual arts by providing an ongoing forum for education and critical dialogue." They have an excellent newsletter, a resident mentor and a well developed mentoring program (they also have a monthly "Stitch and Bitch" meeting).
http://www.mawa.ca/index.php

Mary & Ian Nunn Mentoring/Coaching Program - The following link provides online access to materials for a mentoring/coaching program they developed - it provides excellent materials for anyone who is interested in developing a mentoring program or for anyone who may be interested in mentoring themselves. The focus in not on technique, but on core issues artists face, such as: What is my personal style?; What do I have to say?; Where do I go from here?; How do I express my feelings in ...(whatever medium in which you work)?; How do I know if my work is good?; How do I know if a piece is finished?. Note: there are two program levels - although it says access to Level 2 requires a password, it doesn't. http://www.iannunn.com/iannunn/artTalk/mentorProgram.html

Newberry Mentoring Workshop - Michael Newberry conducts an online mentoring program. From his site: "The mentor program is based, first, on your deepest dreams for your art. Then you will be assessed of your strengths and weaknesses. Thirdly, you will be taught the tools that will enable the realization of your goals. Newberry will thoroughly review your art progress on a weekly or bi-weekly basis and then he will suggest a course of action. Long distance communication is done by telephone and emailed digital images." Although his focus is on painters, you can contact him regarding his willingness to work with artists who work in other mediums.
http://newberryworkshop.com/students/mentor.htm

Leadership and the Art of Mentoring: Tool Kit for the Time Machine – This article by John C. Kunich and Richard I. Lester breaks down the act of mentoring (Model; Emphasize; Nurture; Teach; Organize; Respond; Inspire; Network; Goal-set) and discusses each aspect in detail. Although not written from the perspective of the visual artist, the points are very applicable. The last page has an excellent set of discussion questions.
http://www.au.af.mil/au/awc/awcgate/au-24/kunich.pdf

Business Insurance for Studio Artists

We’re all pretty aware of where to turn for insurance on our homes, cars and/or contents of our apartments. We also at least have a clue as to where to start if the need to file a claim should occur. But what about our needs as artists? What type(s) of business insurance do we need, and where can we obtain it? And what should we do if we have a claim?

One of the biggest mistakes we make as artists is the assumption that we are covered by our homeowners insurance policy. However, unless a special endorsement (rider) has been added, there is no coverage– and even then, most home business riders are targeted for coverage of home offices, not home studio operations.

.

We often talk about opening our studios to visitors, but what if someone falls and is injured?

.

What exactly is the extent of your need as an artist for business liability coverage? The following list of resources should help get you started with assessing your coverage needs and with finding a company that understands the needs of artists.

.

Artist’s Checklist: CLAIMS FOR DAMAGED WORK – Society of North American Goldsmiths – “Unfortunately, despite everyone’s best efforts, 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.”
http://www.snagmetalsmith.org/.docs/pg/400/rid/10024/f/Claims_for_Damaged_Work.pdf

Business Insurance Information – gives information about the basics of business insurance
http://www.iii.org/individuals/business/

Disaster Preparedness for Artists – Craft Emergency Relief Fund – “Disasters can strike at any time and in any place with little or no warning. The time to formulate and implement a disaster response plan for business is now. The following handout was put together with artists in mind. Take your first steps today. The more complete your preparation the more likely your business will recover from a disaster.”
http://craftemergency.org/files/DisasterPreparedness.pdf

Craft Emergency Relief Fund (CERF) is dedicated to supporting artists before, during, and after emergencies. Its website serves as a primary resource for artists with extensive listings for a variety of related topics, including insurance:

.....Business Insurance Basics for Artists
.....http://craftemergency.org/wp-content/uploads/Business_Insurance_Basics.pdf

.....Business Insurance for Artists
.....http://craftemergency.org/programs/prevention/property/

.....Property and Liability Insurance
.....http://craftemergency.org/programs/prevention/property/

Do Frogs Need Insurance? No, but you do, by heck! – Betty Chypre
http://smartfrogs.com/insurance.html

Have You Got It Covered?: Insurance Needs of Artists, Retailers and Show Promoters – Heather Skelly
http://www.craftsreport.com/July03/feature.html

Insurance: A User-Friendly Guide for the Arts and Nonprofit World - Texas Accountants and Lawyers for the Arts (TALA) - This guide contains general insurance principles and common insurance issues, such as auto and property insurance, workman's compensation, umbrella vs. excess, and directors and officers liability insurance. This guide also addresses special considerations for the performing arts, visual arts, and special events, risk management, and advice on buying insurance and filing claims. Cost is $5.00
http://www.talarts.org/mailorderform.htm

Insurance Resources for Craftspeople – The Crafts Report
http://craftsreport.com/resources/insurance.html

Insuring Your Quilt
http://www.lostquilt.com/Insuring.html

Types of Insurance that Sculptors Regularly Need to Obtain for their Studios, Employees, and Exhibitions – Daniel Grant – [NOTE: This article may be specifically targeting the needs of sculptors, but the information is equally applicable for textile artists] “…The cost of all this insurance varies widely, depending on the amount of coverage (most insurance packages for artists and craftspeople offer a maximum of one or two million dollars in total liability), the type of work created (fewer physical risks exist for painters and graphic designers than for sculptors, especially those who are welders), and the location of the artist. Rates tend to be higher in Florida, California, and New York because of geography (hurricanes, mud slides, and wild fires) and possible terrorism. Studio insurance may also be more difficult to obtain for artists who do not have a strong track record of sales. Insurers are reluctant to pay a settlement for an object that has no clearly established market value other than the artist’s sense of its worth.“
http://www.sculpture.org/documents/scmag04/june04/web%20specials/grant.shtml

UK – Insurance for Artists – Arts Council England
http://www.publicartonline.org.uk/practical/artists/insurance.html


STUDIO INSURANCE SOURCES:

American Craft Council, 72 Spring Street, 6th Floor, New York, NY 10012, Description: Offers members discounted property and casualty insurance, work in transit insurance, coverage for business contents on and off premises -- and while at shows.
http://www.craftcouncil.benefitresourcing.net/

Artist/Craftsman Protection Plan, 11300 Rockville Pike, Suite 500, Rockville, MD 20852, (301.816.0045 or 800.638.2610, Description: Offers individual artists liability insurance and all risk property protection for artwork at home or studio, on exhibition, and in transit.
www.asicorporation.com

Benchmark Insurance – has business insurance designed for the craft artist. Currently available in Illinois, Indiana, Michigan, Ohio, and Pennsylvania, but may soon expand the area of coverage.
http://www.benchmarkinsurance.com/business_insurance.htm

Chris Johnston of HUB International Milne of Arizona specializes in insurance for textile artists: chris.johnston@hubinternational.com , 1750 E Glendale Ave, Phoenix, AZ 85020, (602) 749-4282 or (800) 688-7472

Connell Insurers (417.334.2000) P.O. Box 1840, Branson, MO 65615, Description: Offers a craft package policy that covers general liability, products and complete operations liability, and more.
www.connellinsurance.com

Flather Perkins, Inc., 888 17th Street, NW, Suite #508, Washington DC 20006, Description: Insures fine art and crafts on studio premises, in transit, and in shows. (800.422.8889) has two basic policies for artists, a $500 general liability plan that covers slip-and-falls (medical payments), product liability, loss of equipment other than computers (computers are a separate area of coverage), business vehicle accidents, and fires, and a $1,500 fine arts package that covers the value of the artwork itself when there is damage, theft, or destruction in and out of one’s studio. Part of that plan covers works-in-progress, paying the artist labor and materials costs if the piece was less than half completed and the full selling price if the object was more than half finished.
www.flatherperkins.net

Fractured Atlas, 248 W. 35th Street, Suite 1202, New York, NY 10001, Description: A nonprofit organization that offers many support services to artist-members throughout the United States, including event liability insurance.
Email: helpdesk@fracturedatlas.org
URL: www.fracturedatlas.org

Hartford Financial Services Group (860.547.5000)
www.thehartford.com

Henderson Phillips Fine Arts Insurance (202.955.5750 or 800.871.9991) http://www.ajg.com/portal/server.pt?open=512&mode=2&objID=625

Holman Insurance Brokers LTD - Canada
http://www.holmanins.com/business/fineart_jewelry/artists.html

Huntington T. Block – is a “…provider of insurance for the fine arts community .” - (202.223.0673 or 800.432.7465)
http://www.huntingtontblock.com/amo/htb/homepage.nsf/($DynamicFrameWeb)?OpenForm&Link=/amo/htb/homepage.nsf/($DocumentUniqueID)/05554A39EAAC980A86256AAA00024101
Tiny URL: http://tinyurl.com/63ormx

Insurevents.Com (800.279.6540)
www.insurevents.com

K&K Insurance Group, Inc., 1712 Magnavox Way, Fort Wayne, IN 46801-2338, Description: Provides liability insurance for artists. See "Concessionaires, Exhibitors & Vendors" area of their Web site. Phone 800-328-2317
www.kandkinsurance.com/

Kaye Fine Arts Insurance (212.210.9200 or 800.456.KAYE,
www.kinsurancecenter.com

Ontario Crafts Council, 990 Queen Street West, Toronto, Ontario M6J 1H1 Canada, Description: Members are eligible for business and liability insurance.
Email: info@craft.on.ca
URL: www.craft.on.ca

RLI Insurance (1-866-741-6560) Offers business, personal property and general liability for home based businesses. Coverage is available in 50 states. The annual premiums start at $150, and vary by state.
www.rlicorp.com

The Managing Agency Group (800.274.6364), offers a general plan that provides up to two million dollars in total coverage, including a studio and its contents, works in transit and at a temporary exhibition site, medical and product liability, with annual premiums ranging from $400 to $1,700. They offer the American Craft Council Insurance Program
www.mag-hrh.com

Thomas & Pratt Insurance (310.394.5363 or 877.334.6327)
www.fineartguy.com

What does "mastery" mean to you?

What does "mastery" mean to you? This was a question asked of artists whose work is featured in Tradition/Innovation: American Masterpieces of Southern Craft and Traditional Art, a traveling exhibit sponsored under the auspices of the Southern Arts Federation, and supported by an award from the National Endowment for the Arts. Following are 12 of the responses:

Alice R. Ballard, Ceramic Artist
"For me this means knowing your medium so well that you have a working relationship with it. In a sense you become "at one" with your medium. In other words, you allow the medium to have a life of its own. As the artist, you direct and guide the work process but all the time you are listening and learning from the experience and process. This is especially true when working with clay I think."

Clay Burnett, Basketmaker
"Mastery is acquired wisdom. Mastery cannot be obtained without first having put years of diligence into your craft. Mastery is what sets you apart from your other contemporaries. Mastery is an inner driven force."

Douglas Harling, Goldsmith
"What is it that makes an artist exceptional and an object extraordinary? True mastery is the kind of skill that looks deceptively effortless. It is not just the knowledge of how to make an object; it's the ability to exploit the very essence of the material that gives it form. A master can imbue their work with a physical presence, that quality that enables a person, place, or thing to hold the space around it … to stand alone in a crowd. There is an understanding of the artist's own time and place. The work may fit within a long tradition but could exist at no other time. It understands the past, exists firmly in the present, and anticipates the future. Last but certainly not least is the artist's sense of self, their ability to impart their own uniqueness upon the pieces they create, whatever the format or material. This is a deeper quality than just visual style. It is the ability to project ones personality into the object, to bring it to life by giving of one's self."

Richard Jolley, Glass Artist
"It is a very small step from mediocre to great. Many times just one or two small things make the difference. Eighty hour weeks lead to mastery in the development of the touch of the hand. Concentration is extremely important."

Glen Kaufman, Fiber Artist
"Mastery is being able to apply oneself with confidence and convey the idea that the work is well made. It includes doing the best one can."

Virgil Ledford, Woodcarver
"You can't carve like somebody else...You have to have your own feeling of what the animal or bird looks like."

Gwendolyn A. Magee, Textile Artist
"To me, 'mastery' is a combination of technical skill, artistry, and vision that coalesce to produce work that evokes a sense of wonder, depth of thought, and/or a deep emotional response in the viewer."

Tom McCarthy, Jeweler
"I'm seduced by the materials first and then try to find the technique for them. Technique is a grammar. I'm interested in the essay."

Steve Miller, Book Artist
"A nearly unlimited willingness to stay with a problem until it is solved. In his world, problems continually arise, a part of the complex process. It is a question of grabbing hold and not letting go."

Craig Nutt, Furniture Maker/Sculptor
"To me 'mastery' means assimilating technique to a point that it is no longer an issue. Technique becomes invisible. Anyone who has taken dancing lessons remembers having to count each step; mastery is like not having to think about your feet."

Vernon Owens, Potter
"I really believe that you have to have the ability to make your hands do what your eye tells them to. The next thing is being able to be critical of your own work."

Mark Peiser, Composer of Glass
"Mastery is the ability to materialize dreams. To realize vision, concepts and ideas so that they are recognizable to others."

Richard Prisco, Furniture Maker/Designer
"Being the best you can be at what you do."

Harvey Sadow, Clay Artist
"What it means to me is being in possession of a body of knowledge and a set of skills that allows one to actualize what one visualizes without compromise. It indicates that one has developed a high degree of control and or knowledge, which allows one to manipulate his/her medium with extreme confidence. One thing I have always liked about flash firing (raku), is that I can orchestrate a set of probabilities, but the ultimate surrender of control allows the pot the opportunity to be better than the potter. That is as close as I can come to understanding the concept of grace. Grace might be just as important to me as mastery."

Billie Ruth Sudduth, Basketmaker
"Mastery means being grounded in the history of the craft, understanding the range of artistic expressions in my craft, and finding a 'style' that is uniquely my own."

Sunkoo Yuh, Ceramic Artist
"When young, one masters the technology, and as one grows older, one begins to see the conceptual aspect of work and as one grows older, one balances the two."

How will you respond when this question is asked of you?

Tour Schedule:
http://www.traditioninnovation.org/tourschedule.html