Art TV

Hello Everyone
I would like to invite you to participate in a new and unique way to promote your art on TV.

San Base Studio is the developer of a new form of presentation of art and photography on TV called the Art Player, which launched at the 2010 Consumer Electronics Show.

The idea of the application is to promote Art and Photo Galleries on home TV screens and make the works accessible for purchase by millions of households worldwide. Initially, Art Player will be available to a million viewers 24/7, in the application store of a top three network starting in April. This is a unique ground floor opportunity to promote artworks to an audience skewing to high net worth individuals.

Art Player is a virtual window to the “best” artists and galleries. It is easy to use and has many options that benefit the viewing experience. The viewer simply presses the remote and launches the Art Player on the TV screen. Images move across the screen in a virtual never ending slide show, genres can be selected, speed modified and desired images can be frozen getting a short biographical description of the artist, gallery or artwork and means to purchase the work. All of these functions work from a standard remote control.

Art Player will be launching with a marketing campaign to over a million unique viewers in the U.S, bringing you new exposure and possibly new buyers for your artworks. Registration is free and easy and all you have to do is upload as many of your best works as you want. Images should be high res and minimum 900 pixels vertical. To see more information go to http://www.sanbasestudio.com/artplayer .

Thank you and good luck
Cameron Thomas
San Base Studio

Landscape ideas

From ancient times through to contemporary works, the landscape has meant a great deal for art and artists. how artists interpret the landscape is as varied as chalk and cheese from abstract concepts and emotions through to highly realistic scenes.

dscf0043

Many artists are inspired not just by their shapes and forms on the landscape but by colours and textures as well. For an artist starting out the chance to explore landscape ideas can seem rather daunting I hope some of the concepts I put forward might give you some great starting points.

dscf0040

Okay there’s a few ideas you might like to try to get started in landscapes, I think you may find the more you do landscapes to more engrossing it will become… enjoy!

If you are studying VCE Studio Arts you may find this a great starting point to exploring a theme.

Here are a few websites you may like to explore to learn more about the ways artists have explored the landscape as a concept or theme.

Environmental Expressionism

Graham Fransella

Peter Biram

Arthur Boyd

Amanda  van gils

Simon Collins

Peter Tudhope

Ursula Theinert

Kerrie Warren

Kaye Green

Tim Storrier

John Wolseley

Tim Jones

Steve Gray

Regionalis

John Olsen

Boxed in…

I often cruise Art shops (and occasionally Craft ones too)  to see what’s new, what inspires and what’s still the same old same old. In one I walked into recently I noticed they have small pine boxes with latches, and some had clear see through tops in a range of sizes.

I guess the crafty and scrapbooking types will recognise them as a way of creating some form of “Keepsake” device where precious memories are displayed and therefore it’s a way of exploring 3D collaging in an intimate setting.

shadow-box

In the same way I think the boxes have a lot to offer the Art Student and or Visual Artist. Firstly the boxes are plain pine so they can be varnished, stained, painted and or added to in many ways.

The boxes could be a way of exploring 3d Art without having to go big scale and deal with storage issues of large works. I think the intimacy a small work can create could be an interesting drawcard as well.

For creative starting points lets think about a few possibilities…

Of course the possibilities are endless, the main thing here being the price of the boxes I looked at were very cheap, and came in a range of sizes.

If you create one or three of these, send us a link to a photo in the comments for this post and show us what you have created!

The online portfolio developer…

As an Art student or even as an Artist, you probably have a lot going on, teachers and lecturers wanting you to explore this and that, themes to pursue, techniques to be tried out and so on. Well here’s a technique to use to keep lots of these forces happy.

dscf0091

Most of you will have a facebook page, as such you realise you can share a lot of things with the world, pictures especially and comments.

So try the daily challenge (It could be weekly but hey, a bit of a push wouldn’t hurt…) the aim is to put a picture every day online for a set period (one I know of is a 365 day photo challenge.) and therefore put up one image a day and comment on it.

Your Teachers and Peers can add comments and provide critiques. At each stage you could offer a lot of info or little info… perhaps stick to a formula of a few points, why I took this photo, how I lit the photo, why this composition works and so on…

This way you can show you are working, get feedback, see if patterns evolve, it could be the same with drawings or any other media!

The only downside is having teachers and lecturers as friends on facebook! Okay probably not a bad thing either… ;)

Thanks to David Gray one of my Nephews, whose 365 day facebook photo challenge gave me the idea! :)

Steve Biller – Artists Representative

Steven Biller is a Southern California-based Visual Arts Consultant. I recently chatted to him to find out more about what he does and how he does it. Enjoy!

sb_melissa

I imagine you might get a lot of artists wanting to be represented by you, or am I guessing wrongly here?
Not many. I don’t advertise. I look for artists I know I can place in strong gallery programs. I’m more of a scout, for artists and gallerists.

What sorts of artists do you focus on?

I focus on outstanding emerging artists and artists who have appreciable exhibition experience but need a new dealer. I like artists who confront the issues of the day — and not necessarily in representative fashion.

Why are they your focus and not, say university graduates?

I do look at university graduates. MFA thesis shows reveal tons of great talent. The best part of the 2009 Los Angeles Art Show was the student show at the back of the convention center. I was disappointed that the students received only a sliver of space at the 2010 fair.

What sorts of services do you provide?

I review portfolios, select artists who warrant a studio visit, evaluate their work in person, and give an honest assessment of why I will or will not represent or market the artist. Then we work together to identify appropriate gallery programs. After that, it’s about building trust and relationships.

When you go to an artist’s studio, what sorts of things do you look for?
I’m interested in artists with a clear vision, thoughtful execution, evenness in quality, and commitment to an aesthetic. Quality is not as subjective as you might think.

You work with galleries also, in what way?

I curate shows from time to time, but I mostly help them refine their rosters to sharpen their programs. And, having worked in publishing for more than 20 years, I offer full-service custom publishing (write, design, and produce exhibition catalogs and artist monographs), as well as PR and marketing services.

What sorts of things do artists do to “shoot themselves in the foot” so to speak that causes a gallery or agents to not take them on?

Artists too frequently neglect to learn about a gallery’s program before going in with their portfolios insisting their work will fit in and sell well in this space. Don’t be so presumptuous. Art is tough in the studio, and even tougher in the gallery. Dealers know what their clients want; if they say “it’s not for us,” accept that without taking it as a blow to your work. You might be a phenomenal landscape painter in the Midwest. A dealer of early California Impressionism will not give you the time of day.

I guess like many galleries you get plenty of requests to look at artists websites. What are some of the things that cause you to cringe or become elated, when you do take a look?
I generally read artists sites for biographical and exhibition information, and reserve judgment on the art until I see it in person. I’ll dismiss most derivative work and art that falls outside of my interest or aesthetic before ever considering a time-consuming studio visit.

How did you get started in business, and was it easy to get “accepted” by galleries?

I fell into this. I study art every day, keep up with what’s happening here and abroad, and try to see as much art as possible. Who knows if any galleries “accept” me, whatever that means, but I’m sure they appreciate the experiences I bring to our meetings.

Let’s imagine you find a great emerging artist but you find they have used a vanity gallery a few times to try and be noticed, would that put you off?
Yes, it would put me off. That’s not how to get noticed. Good dealers never look at those sites. Good artists who cannot find good dealers should seek out people like myself. We can assess the work and point artists in a direction that will not compromise the integrity of the work.

On the PR side of things do you advertise your services to galleries, collectors and investors or who if any and how…

I don’t advertise at all. I put myself in the right places to meet the right people. That takes years to develop. It really is who you know — and who they know.

How do you go abut telling artists who are not contemporary (but think they are) their style is not what they think it is…

I’m honest. The worst thing you can do to an artist is give false hope. If it’s decorator art, so be it. Make yourself known to interior designers who’ll buy your canvases in bulk. It’s an honest living. There’s no shame in being a commercial or production artist if you enjoy the work and earn a living from it.

When you get an artist represented does your connection with them continue from there?

Yes! In fact, I work harder for those artists — and for the galleries that represent them. If they succeed, so do I.

Are there a few key points artists should do to make themselves more marketable?

Be ruthless when editing your work. Only allow the best pieces out of your studio. Not everything is a masterpiece. Let go of the ego and rework those mediocre and bad pieces. You know which ones I mean …

Artists websites, there are those for them and others against them, how about you?

They’re great for artists to present their work chronology, their bios, their exhibition histories. But avoid selling from the site. If you sell from your site, don’t expect galleries to work with you. You’ll be competing with them. Direct inquiries to your dealers. They’ll respect your professionalism and pay you a set share. If a client want to buy from your inventory, discuss it with your dealer before sealing the deal. Relationships are everything in this business.

Is it hard to categorize art so you make sure artists understand the type of work you want and how do you go about it?
It’s immensely difficult. I don’t want to define my preferences too narrowly. I work with artists who make work that I would never hang in my own collection. If it’s good, it’s good. I’m working with a glass sculptor after promising myself I would never touch glass. But this guy stands out because of his process and the narrative of the work. He’s not a glass blower who makes pretty vessels. He’s a sculptor who uses glass. I also try to avoid digital photography, but found myself organizing a show with an important photographer who switched away from film. Never say never …

Is there a “one size fits all” solution you use for all artists or is each given a highly tailored solution?
Each artist is different. My objectives might be the same for many artists, but the road we take will always look different for each of them.

Want to see more Art info the day It’s posted? Subscribe and we automatically send you the latest post via email, it’s easy click here to subscribe.

Compiled and edited by Steve Gray © 2009+

Follow me on twitter! http://twitter.com/stevegray58

Check out our other Art Site http://stevegray.com.au/blog

Portraits – outside the square

This portrait by Rupert Shrive shows the idea of representing someone in a portrait does not have to be a basic square or rectangle on canvas or in a photograph.

new-portrait

So lets explore a few different ways you could do a portrait.

These are just starting points to work from, but once you have tried these, think about doing a straight portrait, do you think it will be easy? Perhaps it might seem too bland as a process and ask yourself which one really portrays the subject matter the best…. Enjoy!

If you are studying VCE Studio Arts you may find the ideas in this article may give you some interesting starting points in developing ideas for your folio.