The details:

Where: The Art Institute of Chicago
What: Georgia O’Keeffe: “My New Yorks”
When: Jun 2-Sep 22

Heading to Chicago? You’re sure to find something revelatory every time you visit the Art Institute—and this time is no different. Even if you think you’re familiar with Georgia O’Keeffe’s work, her “My New Yorks” exhibit offers a new understanding of her range.

A little context:

In 1924, O’Keeffe was living in the Shelton Hotel, then the world’s tallest residential skyscraper. She embarked on a mission to memorialize this time in her life with a series of cityscapes, ranging from street-level compositions of New York’s skyscrapers to the views she captured looking down from her 30th-floor apartment.

The exhibit:

Think of your favorite O’Keeffe work and it’s probably here—right next to something of hers you’ve never seen before. This one-of-a-kind exhibit marks the first time these works have been curated together, highlighting Georgia’s clear-cut artistic vision and the special way she reflected the world around her, no matter what environment she was in.

One of the most compelling things about Georgia’s work is the approachability of it. The simplicity of her vision transcends generations and genres, and it has never been displayed better than in this show.

LEARN MORE

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Throughout its four historic decades in contemporary and fine art, Artexpo New York has hosted the likes of Andy Warhol, Robert Rauschenberg, Keith Haring and Leroy Neiman; intensifying the discourse on today’s industry challenges and magnifying the very best the fine art world has to offer.

This year’s Artexpo New York takes place April 7-10, 2022, at Manhattan’s newest destination for art, Pier 36. Each year, the fair’s special programs range from immersive artist-led Art Lab experiences to compelling Art Talks and exciting Meet the Artist sessions.

From the amazing list of exhibitors, Artexpo’s curators present their Spotlight Program, providing collectors a focused look at several cutting-edge galleries and artists recognized for their skill and achievement in the visual arts.

George & Mikheil Family Art are one of this year’s Spotlight Recipients, exhibiting at Booth #S903. They are a father and son duo from Brooklyn, New York. Originally from Tbilisi, Georgia, they have participated in various international exhibitions in Germany, Belgium, Netherlands, and the United States.

Their art excuses a sense of hidden depth in character masked by an almost childish playfulness in color and theme.

George & Mikheil Family Art exhibited at this year’s Artexpo New York at Pier 36. To see more exhibitors from this years event visit the Redwood Art Group RAVE (Redwood Art Group Virtual Events) here.

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So if you are looking into art colleges or want to know more about expected salaries and possible career paths, this guide might be quite helpful. Here are the most profitable art majors, from lowest to highest, that also offer professional development opportunities. All the data on payment rates and employment outlook is from the U.S. Bureau of Labor Statistics (BLS).

Graphic Design

This creative field has great earning potential. According to U.S. BLS, the average salary for a graphic designer is $53,380 per year. The range is from $31,720 to $93,440. About 24% of professionals in this sphere are self-employed. It is a more flexible job, so one can work distantly or in the office, on individual projects, or on a permanent basis.

The associated education program allows for a combination of technology and art to create powerful imagery. The only downside is that there is a job outlook decline in this field by -4%, so there will be higher competition in the labor market right now. But it can also change in the future as the number of technology-related occupations is growing.

Interior Design

If you want to create comfortable yet beautiful living spaces, this is a valid opportunity. Interior designer programs are available in many schools and colleges and offer a powerful set of skills. And this major is more affordable than many other art-related degrees.

Usually, an interior designer gets $57,060 annually, with the range from $33,020 to $97,920.

Such a position requires not only artistic vision and understanding of fundamental architecture and color concepts, but it also demands strong communication skills to gather and analyze the client’s expectations and needs. But it is emotionally fulfilling to see designs come to life.

Music

Music is another exciting opportunity to pursue. One can learn to play instruments, write songs and melodies, teach others, or make a solo performing career. For one of the most popular positions in this major, secondary or high-school music teacher, the employment rate is 98.1%. So, it is safe to say that there is decent job security. And the job opportunities grow 4% a year, which is the same as the majority of other spheres.

As a high-school music teacher, one can earn $62,870 per year ($41,330-$102,130). Those who work as music directors and composers earn about $52,250 yearly ($23,820-124,390). Musicians and singers have irregular working hours, but the rate is about $31.40 per hour.

So, whether you want to be a solo performer, teacher, or composer, music is a valid major to choose.

Drawing Studies

This section concerns students that will graduate to become fine artists, craft artists, painters, illustrators, and sculptors. It is one of the classic career choices for creatives. One of the benefits of this sphere is that it is very flexible – one can be a self-employed creator, work for a company, or become a teacher.

According to the U.S. BLS, the average annual payment for craft artists is $49,120 ($22,000 – 112,930). Painters, sculptors, and illustrators earn $52,340 per year ($19,570 – $122,900). High school teachers in this sphere have the same rate as music teachers – $62,870.

Cinematography and Video Production

In this program, students learn film and video production, methods of capturing stories, camera work, etc. It is a versatile field as one can work in many industries, from motion picture production to advertising and marketing.

Film and video editors earn about $67,250 annually. Camera operators for film and television get $57,200 per year.

The job outlook for both of these careers is great – it grows by 18% a year, which is much higher than the average 4%. The top-paying industries are, of course, performing arts and motion pictures. Overall, it is a dashing career choice for those who love cinematography.

Industrial Design

Students interested in art, engineering, and business may consider this education. The focus here is on developing the design for products, whether it is a sports car, milk box, or coffee maker. These professionals work in a wide variety of industries, so the job outlook is pretty good.

The salary rate is $71,640 on average, ranging from $41,860 to $118,440.

Entertainment and Media Management in Arts

This might not be the first thing that comes to mind when you are talking about art majors, but it is definitely worth mentioning. The main career path for individuals in this program is to become an agent or business manager for artists, musicians, athletes, or performers. This profession combines knowledge of art with business and marketing management.

The average annual salary for such agents and managers is $75,420. The range is from $35,840 to 190,500.

Fashion Design 

Majoring in fashion and apparel design opens doors to many opportunities, from becoming a designer yourself to working for high-end brands and manufacturers. It has great potential for career growth and earning. But the industry is quite competitive.

Fashion designers earn $75,810 annually, with the range from $38,570 to $146,300.

Another possible position to look for is purchasing manager or agent for shops or enterprises. Such professionals have an average salary of $72,270 annually ($39,810-$112,170).

The only difficulty for those interested in fashion is that the job outlook is in a small decline right now, so the positions are not as easy to land as others in this list.

Drama and Theatre Arts 

Drama and dramatics are some of the traditional degrees one can acquire in arts. This education program is widely available almost everywhere and offers 77% of employment opportunities. It involves not only actors but also directors that are willing to work in theater production.

According to the U.S. BLS, theatrical producers and directors earn $76,400 per year on average. The range is quite wide – from $36,070 being the lowest rate and $184,600 being the highest. The job outlook is growing by 10% a year, which is higher than average. So there is a place for new professionals in this field.

As for theatrical actors, the average rate is $21.88 per hour. The range is from $10.51 to $64.92. It is hard to evaluate the yearly salary as the working hours for actors are irregular. But it is still a decent payment to look for.

Interactive Media Design

This major allows combining the best parts of both worlds – technology and design. Students that graduate with such diplomas can work in the gaming industry, animation, or multimedia industries.

It is not as widespread among colleges and universities as other programs, but it provides great employment prospects. Salary rates vary greatly as in other art-related majors. It depends on many factors, from skills and experience to projects, industry, and location. Another advantage is the possible flexibility of this career – it allows working individually or being a part of a huge company.

Special effects creators and animators get paid $77,700 annually, with the range from $42,390 to $142,750. The number of job opportunities grows at the usual rate of 4%.

Art Director 

This is one of the most profitable occupations for people with degrees in arts. Of course, for a high-level position, it requires not only a college diploma but also at least 5-7 years of experience in the industry.

Art directors work in magazines, television productions, newspapers, or packaging companies. They are responsible for visual style and imagery. One can become an art director with various art-related degrees, like photography, design, or illustration.

The annual payment rate is $97,270 (from $54,530 to $199,250), with the most profitable industries being motion pictures and advertising.

In Summary

Creative careers are essential for almost any industry and offer splendid opportunities for graduates. The annual salary ranges significantly for almost any major. But the average return on investment for all these educational programs are quite good. They also provide fulfilling and flexible employment options.

Author Bio: Hanna Douglas is a professional essay writer at EssayWritingService with a focus on art and literature who has been working in this field since college graduation. She is passionate about visual art and its expressive means both in her career and everyday life.

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Saturday’s RAVE event ended with an after-party focusing on the crypto craze of NFTs. Co-Hosts, Eric Smith, CEO of Redwood Art Group, and Hannah Smith, Social Media Manager of Redwood Art Group spoke with Craig Kausen of Chuck Jones Gallery, Jon Stock of Corridor, and Gary Symons, Editor in Chief of The Licensing Letter. These industry professionals gave viewers a quick lesson on what NFTs are, dove deep into how they work, and more importantly, gave insight on whether or not artists and art enthusiasts should be involved in the new trend.

You may be asking yourself, “what is an NFT?”

To sum it up, NFTs are non-fungible tokens, which are a unit of data stored on a digital ledger, called a blockchain, that certifies a digital asset to be unique and therefore not interchangeable. They can be used to represent items such as photos, videos, audio, and digital art. 

Similar to receiving a certificate of authenticity when you purchase a piece of art, an NFT is unique to whoever owns that “piece” or digital file. 

NFTs are a way for artists, especially digital artists, to sell their work to new collectors and make a profit. In fact, Chuck Jones Gallery is offering an NFT on their booth page for RAVE Artexpo New York. 

However, this new form of cryptocurrency is gaining more and more controversy as professionals are learning more about the impact NFTs have on the environment.

Jon Stock and Gary Symons spoke on the environmental effect NFTs cause during the RAVE after-party and the shocking and eye-opening statistics scientists have discovered. 

If you’re interested in learning more about NFTs, check out the RAVE After Party event – “WTF are NFT’s?” on the Redwood Art Group YouTube page! 

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And there are plenty of other, even crazier examples!

Looking at these examples, it can be rather hard to believe that anyone could ever think of using these tools and materials for painting. But, how can we blame them if, as was said earlier, art knows no limits or boundaries? Besides, if it wasn’t for their odd approach to painting, many of these artists would probably remain unnoticed and, if you think of it this way, it makes pretty good sense why they decided to go far beyond traditional brushes. After all, that’s what made them stand out.

Now, guess what? You can go the same path and also make your paintings stand out if you start thinking beyond the brush. This doesn’t necessarily mean that you will have to use your tongue or blood to paint. You will be surprised by how many more traditional tools you can use.

So, if you are a painting enthusiast yourself, in this article, we are going to tell you about six tools that can make your paintings more fun and definitely more unusual. Let’s dive in!

Blow Torch

Let’s start with something more or less not as surprising. As some of you may already know, regular blow torches (like the ones you can easily find in a local hardware store) have long found an application in art.

If we speak about painting in particular, special art or regular chef torches are mostly used for acrylic pour painting. This form of painting, along with alcohol ink art, is trending these days as many people find it relaxing and even somewhat meditating. The torch, in this case, is needed as a heat source that helps you reduce the surface tension of the paint layers, close bubbles or air pockets, and allow colors of different weights to mix more smoothly.

Sponge

This next tool is also not as odd and most likely can be found right in your kitchen. Sponges are widely used for painting not only by kids and amateurs but also by professional artists.

If you research a bit, you can find dozens of different sponge painting techniques. This tool can be used for a variety of purposes as well. Just to give you a few examples, replacing your brush with a sponge can help you reach very different color combinations, regulate levels of transparency or sheen, and add different textures to your artworks.

Bubble Wrap

If you want to have a very relaxing art session or want to add an eye-grabbing “bubbly” print to your masterpiece, then you can simply use a bubble wrap that came along with your most recent parcel.

This tool is often used in painting to create a really fun effect with inks or acrylic paint. And it is also often being used by kids because it is extremely easy to use – all you need to do is to put paint on top of the bubble wrap, press it to a paper or canvas, and then do whatever you feel like doing to create more and more unique patterns.

Hair Comb

We bet that a hair comb is something most of you have somewhere in your house but have you ever thought about using it for creating unique artworks? Probably not. Although not many of us would think of it, you can be surprised to learn that it is a rather popular tool among artists (and not just painters).

This tool is something most of us always have at hand, and it is easy to use. And the best part of it is that using a hair comb for painting really enables you to unleash your creativity. There are hundreds of patterns you can create with a hair comb – from straight lines to circles, waves, various geometric forms, and more. It can be used for hatching, as well as for adding texture and depth to your artworks.

Scrunched Up Paper

Another interesting and unusual tool you can add to your painter’s kit is a regular scrunched-up piece of paper. It can work great for adding texture and blending colors in a more unusual way. And it is also very easy to use. You just need to scrunch up a piece of paper, put the colors of your choice on top of it, and press or drag it on your canvas to add unique effects.

Body Parts

We’ve already told you about a couple of artists who kind of went to extremes in using their bodies for painting. The good news is that you don’t have to follow their lead and paint your works with the most unexpected parts of your body, but you still can use your body as another tool for painting.

Most often, artists rely on their hands, feet, toes, and fingers to create their masterpieces. As many of you probably think now, that’s a technique used by children to make their first steps in painting. That’s true. But this doesn’t mean that professionals or adult enthusiasts can’t use the same technique to create stunning paintings – if you need proof, just check out a few works by Iris Scott, an artist who made her name specifically on finger painting.

Final Words

If you think that’s all, think again because the number of tools you can use for your artwork is truly unlimited. If you are wondering what else you can use, the answer is – pretty much anything you can find! Apart from what we’ve mentioned so far, some other tools that can come in handy include:

• Toothpicks;
• Toothbrushes;
• Forks;
• Spoons;
• Feathers;
• Fruits and vegetables;
• Plants and flowers;
• Dish scrubbers;
• Coins;
• Stones;
• And plenty of other stuff.

Hopefully, reading this article was fun and enjoyable. Now, you know that your brush set isn’t the only thing you can use to create attention-grabbing paintings and have more fun than ever in the process of creating them!

In conclusion, the only thing we’d like to advise you is to never be afraid of trying new things – experiment with tools, use various materials, don’t limit your imagination, and let it get a bit messy. When you cross this line, that’s where true art is born!

Author’s Bio: This was written by a specialist from EssayService, Julie Gunn. She is a history essay writer with many years of experience but, apart from writing, Julie finds her passion in painting. In this article, Julie shares a list of unusual tools that painters can use to create outstanding artworks.

The post Going Beyond Brushes: Top 6 Tools to Use for Making Your Paintings Stand Out appeared first on Art Business News.

But, how can you ensure that you are making a strong impression? And what’s more, make sure you foster these important relationships? Here are just a few tips from gallerists, curators and artists on how to put your best foot forward and increase your opportunities in the art world.

Mitigate your risk by doing your research & seeking referrals

No matter how good your work may be, if it’s outside the realm of what the gallery’s interest, you have a slim chance of gaining representation. Make sure the gallery you are submitting to exhibits artists at your career point, similar aesthetics, and price points like that of your own. They are more likely to want to work with you and have the potential to sell your work.

Before you approach a gallery, ask yourself, “Is this right for me and my artwork?” If not, it’s a waste of time and efforts that could be spent on a more promising opportunity. Understanding that your work isn’t going to be a perfect fit for every gallery will only make you a stronger candidate for the right one.

After you have determined that you are a good fit for a gallery, see if you can get a referral for that gallery. If someone they know and trust—especially another artist they’ve enjoyed working with—sings your praises, you immediately have a leg up on the competition. Gallery owners may be hesitant to open their doors to an artist they know nothing about, but a call or comment from an artist they trust works as an endorsement of your work and your personal brand.

Otherwise, it’s often the case that when you drop your portfolio off at a gallery, you’re just another name in a long list of anonymous artists who have done the same. The owner and director aren’t familiar with your professionalism yet. Do your best to minimize risk right off the bat and present yourself as a sure bet.

Create your own luck by investing in your creative community

A gallery owner is more likely to pay attention to your portfolio if you’re even the least bit familiar.
So, how else can you make yourself known?

To build the relationships needed to get referrals, get involved in your local arts community. Join local artist organizations or set up shop in a shared studio space. Take a genuine interest in what others are doing and take an active role in your community by going to openings at your neighborhood gallery and networking at other cultural events.

If there’s a juried show that will be hosted by one of your target galleries, consider entering it. Go to shows at the gallery and make a point to find a good time to introduce yourself to the owner. The goal is to put yourself in a position where you will meet a gallery owner while also being respectful of the gallery’s time. Some galleries have set times or dates when they’ll review portfolios, seek these out and mark them in your calendar.

Illume Gallery of Fine Art Gallery owner Jane Bell Meyer advises, “You can make an intro call and send images, but don’t drop in. Respect the time of the gallerist. We get about 40-50 requests a week on social and email.”

Artwork Archive’s reporting tools help you quickly produce professional reports and present your work with a polished edge.

Research the right way to submit your work & present your work professionally

If a gallery is taking submissions, follow any instructions on their website and don’t go outside of the box for this one. Co-owner of Haven Gallery in New York, Erica Berkowitz suggests the following checklist:

• Do not submit very large files via email. If providing high resolution images, consider using a cloud-based service like Artwork Archive.
• Submit your current work or work reflective of the style in which you would be contributing to the gallery.
• Include an up-to-date C.V., price guide, and related artwork captions.
• Do not send blanket emails. These typically get deleted.

One easy way to be prepared is by inventorying your artwork. Platforms like Artwork Archive that provide easy-to-use tools for artists to easily create a full list of images and details in just a few minutes help you present yourself professionally—with ease. In the click of a button, you can generate consignment & inventory reports as well as tear sheets, gallery labels and shipping labels—an essential part of working with a gallery. This ensures the gallery has the exact information on hand about your artwork. They’ll know the price, dimensions, any notes you want to include, its consignment ID, and the date it was consigned.
Stay consistent with communication, work & pricing

First and foremost, stay consistent with the style of work you are presenting. If a gallery invites you to a show based off of your submission, take heed to create work with respect to that style or subject. The gallery enjoyed what they saw and recognized the potential of such work with their collector base.

Don’t be afraid to check in periodically with your gallery about how things are going with your work. If sales are doing well, can they be better? If sales are slow, is it something on their end or yours? You can’t find a solution unless you are addressing the right problem, and an honest answer from your expert gallerist will point you in the right direction.

Artist Jordan Scott has gained representation with many galleries and maintains good relationships with them by reaching out on a regular basis. He suggests contacting them with a simple “‘Hi, how are you? Wondering if there was any interest.’ Not asking for anything. If you go about it professionally, they will be more than happy to work with you. Remember, you are partners. When you succeed, they succeed.

Keep your pricing consistent as well. If you’re selling a painting collector directly out of your studio for $1,000, keep this pricing for pieces with the same size and style. Once you set a price point, you’re responsible for maintaining it.

Over-deliver on quality and information

Let’s face it, no gallery director, curator or office manager likes to chase down artists for information. Whenever you deliver your work, always provide all the details in a way that each work can be identified properly. “The main thing you can do to maintain gallery relationships is to be professional and prepared when they ask you for prices or images. You want to make sure you not only get it to them within a day or so but that it’s presented in a professional manner,” Jordan Scott echoed.

You don’t want to be digging for images, details, or documents last minute. Have thumbnails of your artwork with and supporting details clearly listed out for them. With your art inventory at your fingertips, you’ll be able to choose the right collection of pieces for your presentation. Everyone wants to work with artists that are on top of their game and ready with all the information ahead of time.

Spread the Word & Be A Team Player

The gallery has an audience and so do you. “Increasingly, more galleries are gravitating toward artists who are out there pushing their work on social media and helping spread the word. It is a welcomed asset beyond the work itself,” said Chicago based visual artist and curator, Sergio Gomez.
“As a curator, I am always looking at how and what you include on your profile and many curators and galleries do the same.”

Again, a show is a partnership between the artist and the gallery. It helps in the partnership to be a good team player.

Learn from rejection

In the business of art, you can’t lose. You either win, or you learn. Odds are that you will be told no. Or, you may get no response at all. All of that is okay. The competition for gallery spots is incredibly competitive, so chances are you will not get into every gallery you admire. Learn from the rejection and be reflective of the process.

It could be that it isn’t the right fit, your work might need more development or it simply just might not be the right time. Whatever the case, learn from rejection and use that new knowledge to evolve your approach and go forward in the future.

The first step to making a strong impression with your galleries?

Prioritize cataloging your artwork and getting organized. Artwork Archive is an art inventory platform that artists use to work with galleries, present their work, and run their careers.
Professional artists around the world use Artwork Archive to stay organized, on track and productive. The simple, yet powerful art inventory software helps artists run the business side of their career by tracking inventory, sales and contacts and more.

Start using the tools that impress clients and galleries, free for 30 days. You can start saving time and getting back to the studio by creating invoices, inventory lists and labels with a click of a button when you get started with Artwork Archive.

Get started with your free 30-day trial here.

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In many cases, that gap is not a dearth of talent, but rather a lack of business training and expertise. No matter how masterful their technique or profound their message, artists must also acquire the skills to manage their art practice as a successful business if they want to support themselves through the creation of their art.

The Clark Hulings Fund for Visual Artists (CHF) is helping artists achieve this goal through its intensive Art-Business Accelerator, a yearlong virtual course of business study that equips visual artists to thrive as entrepreneurs and build a career with staying power. On January 8th, the national nonprofit organization welcomed its latest group of Fellows, choosing 16 artists for its 2019 Accelerator class.

CHF Accelerator Fellows receive customized entrepreneurial training, publicity, network-building opportunities, sales assistance, and one-on-one support to help make their businesses self-sustaining. The educational program consists of broad strategic workshops and labs delivered by remote technology, and provides participants with practical knowledge that they can apply in the real world, including how to build a business plan, price their work for profit, win an audience through storytelling, market their brand, negotiate contracts and close the deal, manage their finances, handle copyrights and trademark infringement, and make the most of the technology that’s currently available to them. Each workshop is led by a subject-matter expert, and the labs are deep dives that include extensive time for Q&A, which allows Fellows to obtain feedback on their specific questions and hear the perspectives of their peers.

According to 2017-2018 Fellow Gregg Chadwick, who recently graduated from the program and now mentors the current class as a Fellow Advisor: “The [Accelerator] is like the missing year from my Master in Fine Arts program.”

Assembling a Team That Works Together

It was a challenge for the CHF leadership team to choose the class of 2019. The quality level was high, and the average applicant has been a professional artist for approximately 15 years. “It was a very diverse group,” says CHF Director Elizabeth Hulings, “in terms of medium, style, genre, stage of career, business model, interests, background, and location. That made for a competitive and exciting selection process.”

The application was rigorous—designed to identify those artists who’ve already demonstrated a commitment to growing their businesses, and who are keen to put in the effort that will get them the rest of the way toward this goal. However, beyond the assessment of individual artists, the CHF team also had to gauge how well the Fellows would be able to collaborate amongst themselves. “We have to make sure the cohort will integrate and coalesce around the intense work they’ll be doing,” says Hulings, “and that was a bit of a puzzle this time around. We think these 16 Fellows will mesh well.” 

Collaboration is a pillar of the program, and the network these artists form with each other is one of the Accelerator’s most important impacts. “[It] has proven to be the best part for me,” says printmaker Bethany Taylor, who just graduated from two years in the program. “Though the webinars and guidance of the highly skilled leaders is invaluable, it is logical. The aspect of the program that is ‘illogical,’ and can only be found in shared experience, is having a fear allayed by another artist who has also been uncertain, or less than confident, when in the same situation. That camaraderie has been of great comfort; it has allowed me to move forward through these two years with confidence that I can be a successful artist and businessperson.”

Meet the Class of 2019

The incoming class of Fellows represents a true cross-section of today’s American art scene, featuring painters, sculptors, printmakers, glass artists, and more, hailing from California to Georgia, from Ohio to Texas. Their specific career trajectories and life experiences are just as heterogeneous.

Sculptor Manuelita Brown worked as a math educator in public secondary schools and institutions of higher learning for 32 years before pursuing her art career on a full-time basis. Painter Jonathan Keeton spent three decades as a pioneer in digital visual effects for television, films, and commercials. Painter Tim Saternow did set and lighting design for Broadway shows, and worked in television and film design, even earning an Emmy Award nomination for art direction. Sculptor and mixed-media artist James Moore has been a banker, competitive bodybuilder, stroke survivor, and even homeless, but continued to create art professionally throughout the many twists of his life’s journey.

Though their backgrounds are diverse, these Fellows all share the same desire and drive to boost their art careers to the next level, and they’re unwilling to accept the fiction that artists are incapable of handling business affairs. Take, for example, Fellow April Wagner, a glass artist from Pontiac, Michigan, who established and runs Epiphany studio—one of the largest private hot-glass facilities in the Midwest—where she supervises a team of six employees. “I think we all start out believing the myths we are told,” she says, “but the idea of ‘the starving artist as purist’ is crap. There is no shame in wanting to be recognized and compensated for the work we do. Money is the exchange of value, and I want my work to be valued so I can be a force for good in my community and in my family.”

This sentiment is echoed by Brown, who understands the link between her artistic objectives and the need to sustain the income that makes those objectives attainable. “I want my work to elicit personal, even intimate, emotions from the viewers,” she says. “An understanding of funding sources and a sound business plan will enable me to create the work that I want to make by providing the financial backbone for my creative vision.”

A Powerful Learning Community

The professional life of a visual artist is often a solitary one, which is why it’s so vital that they have a way to connect with other artists. A sense of fellowship provides a sounding board, allowing them to express their concerns and learn from each other’s experiences. In many ways, that give and take is an extension of the work they produce in their studios. It’s what their art offers the rest of us: the ability to learn and see the world with fresh eyes. “Every day, artists birth objects into the world that didn’t exist before. What if we could use that creative power to positively transform how people relate to themselves and each other?” asks Moore. “I want to be part of a mutually supportive community—a tribe of my peers.”

Those connections are incredibly valuable for all visual artists, not just Accelerator Fellows, which is why CHF built the Thriving Art Exchange. This community, which can be accessed via the organization’s Digital Learning Portal, provides a space where artists and other experts can share information and insights designed to foster a vibrant art industry. As CHF Fellow and mixed-media artist Robin Holder says, “I want to collaborate in a think tank in which artists are committed to being agents for their own prosperity.”

Learn more about CHF’s current class of Accelerator Fellows by visiting this webpage and selecting the 2019 tab. To join CHF’s Thriving Art Exchange, register here.

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Whether introducing glass fragments on a print, thereby blurring the line between image and physical object, such as in Impossible Objects #4, or casting a hybrid material she developed called puffy glass, Srinivasan’s experimental contributions to the field are undeniable. In October 2017, an international panel of glass experts awarded the University of the Arts’ fifth annual Irvin Borowsky International Prize in Glass Arts to Srinivasan. Given each year to an artist whose work is conceptually daring, exemplifies technical skill and innovation, and advances the field of contemporary glass, the Borowsky Prize validates Srinivasan’s ability to discover, access, and restructure fundamental information held in a material, situation, technology, or history through a variety of ways.

“Experiments, usually responsive entities, exhibit unusual behavior or interact with their environments unexpectedly,” Srinivasan says. “I make toys, tools, devices, and installations, which are incomplete without human presence. They remain unfulfilled without human participation, erode and multiply with time, and implicate the human body in their framework in different ways.”

For example, a large skin of crystal glows with the warmth of the human hand as it is touched, a self-supporting arch made of glass filaments is flame-worked entirely by passers-by, and a dying tradition of glass bangles looks to the human hand to reconstruct its language.

“I want my objects to need a human to complete it, to activate it, to engage with it, to erode it,” she says. “The experiential is how I establish a relationship with those not privy to my studio. It’s my way of engaging with the world.”

The Borowsky Prize carries with it a $5,000 award and a lecture at the university, which Srinivasan presented Nov. 9. In addition to teaching at the Massachusetts College of Art and Design in Boston, Srinivasan founded and directs ChoChoMa Studios in Dubai. “The prize will feed critical material R&D on a project that’s been on hold for almost 10 years,” she says.

Two finalists, Nate Ricciuto and Anna Mlasowsky, received the Juror’s Award, given to glass artists whose work shows commendable skill and challenges the field of contemporary art.

The Irvin Borowsky International Prize in Glass Arts is made possible by a gift from the late University of the Arts Trustee Irvin J. Borowsky and his wife, Laurie Wagman, a current trustee. The Irvin Borowsky Center for Glass Arts at the University of the Arts was also established through that gift, allowing the university to expand its glass facilities and its capacity to promote the study of the historical and contemporary significance of glass art.

For more information, visit uarts.edu.

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I once lived in a town with lots of artists but no community. Everyone worked in their own frustrated little bubble. I tried to begin a monthly get-together, somewhere we could each share what we were doing.

But there was strong pushback. “I don’t want to meet with other artists, because someone might steal my ideas,” one artist complained.

“You paint kittens,” I sighed. “I doubt your work is going to change the course of art history. And no idea is completely original; ideas are for sharing.”

Other artists are the only ones who will know how you can overcome a technical challenge, where you can find the materials you need, and what you are going on about when you talk about your work incessantly.

Other artists will fill your shows because they’re the only ones who understand how much effort you’ve put into them. Other artists are your best resource for information as well as inspiration.

So consider joining an arts community. Contribute your knowledge and be as generous as you possibly can, always resisting that urge to hold back.

Your arts community is the best place to practice karma. The art gods smile favorably on those who give to other artists.

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What does that mean? It meant that I was committing to writing every day as a practice. Because that’s really what being a writer is all about. Writing. It’s not about being published. It’s not about accolades or money. It’s about sitting my behind in front of a blank screen every day and filling it with my ideas.

It’s the same for all artists. Consider your journey. It begins as an interest, a hobby. Maybe you’ve always made art? Maybe you’ve taken a break and just started again? But you suspect that this art thing is more than something you just do, it runs deeper than that. It feels like it’s part of who you are.

The next phase happens when you start making good work. You’ve been doing it for a while, but now something has really clicked. Your ideas start coming together, your work speaks to you and even to others. You begin to suspect that you might actually be…good.

And then you don’t.

One moment you’re feeling great about your work and the next you’re terrified. You struggle with confidence, with direction. And the only reason you keep going are those wonderful moments of clarity and connection. They’re addictive. But life still gets in the way. You take a day off, and sometimes that day becomes a month or a year. Or more. But like a lover you can’t resist, art keeps drawing you back.

And now you feel ready. You’re tired of playing artist. You want to step into the role, to fully commit to becoming a Working Artist. But you don’t know how.

This is where you devote your time to your practice. Maybe not every day, but a consistent schedule that you can stick to and make happen. No more starting and stopping. No more allowing the fears and doubts to get between you and the work. You fully step into your Self. You become a Working Artist.

But what about money? How do I make a living? It’s fine to be working every day, Crista, but artists gotta eat too. You’re right. And this is the question I get asked most frequently. How can I make a living from my art? Everyone seems to think there’s a magic formula to this stuff. And they’re right.

Do 3 things each day toward marketing your work. It could be a blog post, contacting a gallery, or researching grants. It could be a social media update, writing a new Artist Statement or planning an Open Studio event. It could even be taking an online workshop like The Working Artist.

Really Crista? Three marketing tasks a day? It’s that easy? Yes, it is. They could even be teeny tiny tasks. That’s what I do, but at least it’s forward movement.

Great talent and wishful thinking do not equal a business strategy. And we are talking about a business. But remember, the quality of your results depends upon the quality of your actions. So writing a half-hearted Artist Statement and stopping at the first draft because you hate writing, or sending blanket e-mails to galleries because you’re too shy to contact them properly, or relying on Google for your professional information because it’s easy, aren’t going to give you stellar results. To play in the big leagues, you’ve got to up your game.

What I know for sure is that small consistent steps will deliver the results you seek. And I’m not alone; Dr. Eric Maisel preached the same formula at my writing workshop. Understand that it takes time. And there’s no final destination. Once you achieve your professional goals, you’ll set new ones. Marketing has become part of your practice.

Whether you’re ready to fully embrace your role as a Working Writer, a Working Artist, or a working anything, you’ve got to commit yourself to the work itself. And to bring it out into the world, you’ve got to commit to the tasks that will take you there. This is the magic formula to success. So now the question is, what are you going to do with it?

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