The concept is simple: to get back to the roots of direct communication. You ask a (preferably genuine, from the soul) question, you get a (no holds barred, brutally honest) answer from their oracles, made up of their highly experienced coaches and mentors.

For this to work, Quarantine Events has thrown social media far out of the picture. They have returned to a delectable source of communication void of third-party control and data scraping. They have returned to the ever-surviving form of the bespoke newsletter. And that’s right – it’s free! Get ready for the Brutally Honest Oracle answering your artistic questions every fortnight.

The twist

Of course, this wouldn’t be Quarantine Events without a twist. At the heart of their incentive to provide a safe space where questions can be answered with truth, there lies an “indispensable quality for this oracle to work”: the answers must all be anonymous.

Each question chosen promises to be answered by one or more oracles, allowing artists to receive multiple points of view. Sometimes contradictory, always opening the mind, the anonymous oracles promise to give you their informed advice based on years of expertise.

You will never know who’s on the other side of the crystal ball. If you knew which mentor was responding, the oracle would be corrupted, just like social media.

Why the anonymity?

If you have managed to go through life using the internet and never once been on the receiving end of some unwarranted offence, you are one of the rare few. From people being ridiculed for asking genuine questions to response videos based on someone else’s response video, the internet – and especially social media – is often a knotted loop of knee-jerk opinions and ego topped with a sprinkling of finely distributed unnecessary criticism.

There are, of course, well maintained “safe spaces”; closely monitored online communities with rules and regulations to instil order and security. These can be shining beacons for like-minded individuals and provide positive experiences. But there will always be capacity for uninvited voices to ruin the vibe within any public platform where genuine conversations may be trying to take place. In the world of social media, every piece of ourselves that we put out there is laid bare for others to do with as they wish. It can be vulnerable and draining. But there is another way. As the Quarantine Events team put it: “email lets us keep our dignity”.

This anonymity also works both ways; those asking the questions can also stay anonymous when submitting. The beauty is that this concept focuses on what matters most: the exchange of knowledge.

There’ll be delightful chaos, contradiction, and paradox. It’s an Oracle! But answers will always be informed and from the experienced.

What kind of questions can be asked?

While artists are encouraged to use their common sense when drafting questions, there is no limit to what – or how many questions – can be asked. “An honest answer requires an honest question. So, be brutally sincere.” Suggests Carles Gomila, Artist & Quarantine Events Director.

“Ask anything about using fear and vulnerability to make art. Anything about the creative process. Anything about how to be an artist. Anything about art education… Just don’t be annoying, and use common sense.” Says their handy FAQ.

The team will be grouping answers for the Brutally Honest Oracle by theme, so with Oracles giving their answers every fortnight, you may have to be patient. Rest assured, however, that each newsletter will have plenty to inspire you.

You don’t need to ask a question to be a part of the Quarantine Events Community

If you’re feeling apprehensive about getting involved, it’s important to remember that the Quarantine team welcome all curious creatives. You don’t even need to input a question to enjoy the Oracle newsletter; just sign up via their website and wait for the fun to glide into your inbox! From exploring self-identity neurosis to career advice and everything in between, the Brutally Honest Oracles are here to guide you, free of judgement.

As someone who receives hundreds of emails a day, sometimes it is hard not to feel overwhelmed when I open my inbox. Believe me when I say that the Brutally Honest Oracle is a breath of fresh air. These oracles’ answers will make your brain tick and fizz. Maybe you’ll be inspired to overcome an internal block or two.

We can all do with a little nudge to bring more art into our lives.

Quarantine Social Media Accounts + additional blogs

Website | Brutally Honest Oracle | The Art Spirit 2025

The post Quarantine Events Brutally Honest Oracle: your art questions answered, no holds barred appeared first on Beautiful Bizarre Magazine.

Beautiful Bizarre Magazine mentors encourage, guide and inspire emerging artists as they explore their creativity, develop their technical skills and find their personal style.

MentorMe Edition 6 Mentors:

Ryan Heshka, Kate Bergin, DULK, Kristen Liu-Wong, Victor Grasso, Adrienne Stein, Chris Guest, Rose Freymuth-Frazier, and Crystal Morey

In Edition 6 Beautiful Bizarre Magazine’s Mentors respond to the following 3 questions:

• Has the rise of social media and the internet affected your practice and sales for better or for worse? Please elaborate
• Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?
• What are some of the greatest challenges you’ve encountered trying to make a living off your art?

Below 3 of the 9 mentors respond to the following question:

What are some of the greatest challenges you’ve encountered trying to make a living off your art?

What are some of the greatest challenges you’ve encountered trying to make a living off your art?

Ryan Heshka: Believing in myself for starters. I am very hard on myself and my art, and often feel my skills just don’t reach the level I am striving for. Maybe this keeps the carrot dangling, and causes me to work harder. But it can also cause a shutdown. I also struggle with the balance of administration, emails, shipping, those sorts of tasks, versus the actual production of art. I LOVE, LOVE to make comics, but always find it tough to produce those and still make a living. As well, good old fashioned creative block looms quite often, when it does, that’s when I usually clean/organize the studio, and catch up on the aforementioned menial jobs.

What are some of the greatest challenges you’ve encountered trying to make a living off your art?

Kate Bergin: When you’re younger it’s difficult watching family and friends moving at a much faster pace buying houses and having children. Mark, my husband who is also an artist, and I sometimes felt like we must be mad. We ended up moving from Melbourne to Cairns in far north Queensland and this gave us a way of breaking with those familiar patterns and trying to live a more alternative lifestyle that fitted better with what we were trying to achieve.

It was a great move for so many reasons but one of them was the discovery of the work of Ellis Rowan and her incredible butterfly paintings. Her intrepid sense of adventure travelling to remote parts of Australia and beyond searching for unique specimens to paint and draw instilled in me a sense of art and life being inseparable.

My part time job in Cairns was at an Environmental Education Centre and five years later when we returned to Melbourne, I worked in a university psychology department. It was important to me that if I couldn’t make a living from my art at that time then the jobs I had would need to be interesting to me and in some way feed into my artwork.

Now that I’m a full time artist, I miss that interaction with work colleagues. Mark and I finally have children and a house; a life balanced with art and a life created through art. Every stage brings different challenges but if I can see them as somehow building a story within my paintings then no challenge is too difficult and hopefully something wonderful will come from it.

What are some of the greatest challenges you’ve encountered trying to make a living off your art?

Chris Guest: When I look back, I think the biggest challenge is getting the whole thing off the ground in the first place; to establish yourself as an artist (that is one who pays their bills by people buying their art!) The trick is, you just have to be really patient, and do it for the pure love of making art, and accept that for 5 years you probably won’t make much money while you learn your craft.

My position was, I had a good job and I did art on the side on weekends/evenings in my old garage, so there wasn’t any reliance on art to put food on the table. Once you accept you’re making art because you love it, and you can’t breathe without it, it takes the pressure out of trying to turn art into money.

A few smaller challenges that spring to mind are trying to predict how many prints to make of a certain painting. I can hold my hand up and say I have got it wrong a few times – it’s then quite frustrating when you have a drawer full of prints, that no one is chomping at the bit to own! (It can work the other way also, when you make too small an edition, and you have people upset with you, that they couldn’t get one, so its a fine balance; that is hard to call!

I know it sounds stupid, but the easiest way to struggle to make a living with art, is trying too hard to make money from art! What I mean by this is, when I started, I tried too hard to paint what I thought people would buy, and guess what? You have no idea what people will buy! Then a few times I’d paint something for the fun of it, and it sold, so it’s pointless trying to second guess what will sell. You’re better off just painting what makes you happy and see how it is received!

I find as soon as you go down the path of trying to paint for money, and don’t try new things anymore, you risk becoming vanilla and instead not appealing to anyone!

To read the other Mentor’s answers to this question or any other in Edition 6 please click here to download our FREE Artist Resource, MentorMe.

The post What are the greatest challenges you’ve encountered trying to make a living off your art? appeared first on Beautiful Bizarre Magazine.

Beautiful Bizarre Magazine mentors encourage, guide and inspire emerging artists as they explore their creativity, develop their technical skills and find their personal style.

MentorMe Edition 6 Mentors:

Ryan Heshka, Kate Bergin, DULK, Kristen Liu-Wong, Victor Grasso, Adrienne Stein, Chris Guest, Rose Freymuth-Frazier, and Crystal Morey

In Edition 6 Beautiful Bizarre Magazine’s Mentors respond to the following 3 questions:

• Has the rise of social media and the internet affected your practice and sales for better or for worse?
• Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?
• What are some of the greatest challenges you’ve encountered trying to make a living off your art?

Below 3 of the 9 mentors respond to the following question:

Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?

Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?

DULK: The price of an artwork depends on the size and also the artist cache. Also, the time that everyone spends with an artwork affects the price, because the same size could have a little bit different price depending of the details of the piece. This translates as: more detailed, more time spent.

In my case, I think I have a good ratio of time/money because for me it’s worth every minute I spend with remember every canvas and mural I painted ever because every one has a story that I would like to tell.

Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?

Rose Freymuth-Frazier: My paintings are priced more or less by size but they take a lot of time and effort. Just because something is smaller or larger doesn’t necessarily mean there will be a direct size/price ratio.

Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?

Adrienne Stein: I price my work by the square inch because it is a good objective way to price paintings and usually the amount of time I spend on it is determined by the size anyway.

To read the other Mentors’ answers to this question or any other in Edition 6 please click here to download our FREE Artist Resource, MentorMe.

The post Is there a good time for money ratio when selling your artwork? appeared first on Beautiful Bizarre Magazine.

Beautiful Bizarre Magazine mentors encourage, guide and inspire emerging artists as they explore their creativity, develop their technical skills and find their personal style.

MentorMe Edition 6 Mentors:

Ryan Heshka, Kate Bergin, DULK, Kristen Liu-Wong, Victor Grasso, Adrienne Stein, Chris Guest, Rose Freymuth-Frazier, and Crystal Morey

In Edition 6 Beautiful Bizarre Magazine’s Mentors respond to the following 3 questions:

• Has the rise of social media and the internet affected your practice and sales for better or for worse?
• Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?
• What are some of the greatest challenges you’ve encountered trying to make a living off your art?

Below 3 of the 9 mentors respond to the following question:

Has the rise of social media and the internet affected your practice and sales for better or for worse?

Has the rise of social media and the internet affected your practice and sales for better or for worse? Please elaborate

Victor Grasso: I think social media is a tool, a very sharp tool that is necessary for building your brand, but if you’re not paying attention it can really hurt you. Social media has connected me to international galleries, artists, and publications. It’s great for print sales and promotions and can be a source of inspiration. So, in that aspect it’s been positive, but like everything, it’s ever changing.

Social media can become a grind, especially if you’re inconsistent in posting. It can be dark and depressing if you let it get to you, which in turn, can affect the work. I think it’s more important now to make things authentically and for your own purposes and own it when you do.

Has the rise of social media and the internet affected your practice and sales for better or for worse? Please elaborate

Kristen Liu-Wong: It’s hard for me to answer this with a fully informed response since it’s not like I had a career pre-Internet (I graduated from Pratt in 2013 so social media was already a thing by the time I started working). My senior year I got Tumblr and made a website since all of my professors encouraged us to start doing that – they were totally right! I started posting on Tumblr and submitting the work I did for school to different art blogs.

From that I started getting followers and I was featured on the Tumblr spotlight, which is how I met Luke Pelletier who eventually included my work in a group show with Think Tank Gallery out in LA. From that show I got noticed by New Image Art (my first bigger gallery that was also giving me a bigger show) and the rest just kept going. Because of the Internet A LOT more people can see my work and I’ve gotten so many illustration jobs and gallery shows because people saw my work online.

A fair amount of the opportunities I’ve had arose from people seeing my work in real life (be it through galleries, publications or illustration jobs) but because the Internet is so global and omnipresent, it’s impossible to deny the benefits. That being said there are drawbacks to social media/ putting your work out there on the internet and that’s why I think it’s so important to make sure that your main focus is ALWAYS your work. As far as things that can affect my sales – it’s so much easier for people to steal work, copy it, or not buy something from me because the image already exists for free. I’ve known so many artists (myself included) who have been ripped off in some way and sadly it’s inevitable and just part of the learning experience.

Has the rise of social media and the internet affected your practice and sales for better or for worse? Please elaborate

Crystal Morey: Social media has been a great tool in sharing my studio process, creative ideas, and making artistic friends and professional connections. Several years back, I gave myself a social media challenge of posting an image a day, for a year. I shared works in progress, influences, finished sculptures, and if I was in a show, I would work to promote myself as well as the other artists included. At that point in my career, very few people knew of my work and this was a way to keep myself accountable and commit to my studio every day. Though the promise of sharing images felt like a silly game at the time, it worked. It kept me motivated and built a collection of work I felt really good about, all while spreading the word of what I was up to.

The surprising benefit of sharing continuously, came from the community I connected with online and continue to cherish.

These days I share less on a day-to-day basis, but aim to be more intentional with what I do share. I feel that staying motivated long-term is all about finding the right balance. It is so important to find inspiration and joy in the making process, and for me, that often includes social engagements as well as quiet, introspective time for art historical research, learning more current environmental topics, and, of course, spending long hours sculpting.

As far as social media relating to the sales of artwork, the internet has made huge changes in the accessibility of artists and allowed them to connect with galleries and collectors from all over the world. Online promotion and sales have changed the art world in so many positive ways, breaking down barriers related to geography, accessibility, and inside relationships. I feel like the internet opens up more opportunity for all of us and that is a great gift.

To read the other Mentors’ answers to this question or any other in Edition 6 please click here to download our FREE Artist Resource, MentorMe.

The post Has the rise of social media and the internet affected your practice and sales? appeared first on Beautiful Bizarre Magazine.

MentorMe is a free resource for artists who wish to learn from their peers.

Beautiful Bizarre Magazine is passionate about supporting artists and the industry. Through research and consultation, we seek to develop new ways to encourage, mentor and inspire emerging artists as they explore their creativity, develop their technical skills and find their personal style. We asked 9 established artists to be our mentors in order to encourage, guide and inspire emerging artists as they explore their creativity, develop their technical skills and find their personal style.

MentorEdition 6 Mentors:

Ryan Heshka, Kate Bergin, DULK, Kristen Liu-Wong, Victor Grasso, Adrienne Stein, Chris Guest, Rose Freymuth-Frazier, and Crystal Morey.

The 3 questions we asked our mentors to respond to are:

• Has the rise of social media and the internet affected your practice and sales for better or worse?
• Does the amount of time you spend on an artwork reflect in its price? Is there a good time for money ratio?
• What are some of the greatest challenges you’ve encountered trying to make a living from your art?

To download MentorMe Edition 6, click here.

You can access all past editions of MentorMe here to continue your learning.

The post MentorMe Edition 6 // Out Now appeared first on Beautiful Bizarre Magazine.

MentorMe Edition 4 Mentors:

Jeremy Mann, Tran Nguyen, Kevin Peterson, Joel Rea, Lori Nelson, Rebecca Leveille, Brandi Milne, Kris Kuksi, and Kathrin Longhurst.

• What advice would you give your fellow artists on how to get gallery representation?
• What are the 3 main do’s and don’ts for Galleries when working with artists?
• What are the benefits and disadvantages of selling your work through a gallery rather then privately?

Below 3 of the 9 mentors respond to the following question:

What are the benefits and disadvantages of selling your work through a gallery rather then privately?

What are the benefits and disadvantages of selling your work through a gallery rather then privately?

Joel Rea: “I’ve sold the majority of my work through Galleries, so that’s the system I know. This division of labour helps me focus only on making my work and in tern I can put maximum effort into creating. Dealing with clients directly requires a lot of professionalism so expect distractions and a learning curve.”

What are the benefits and disadvantages of selling your work through a gallery rather then privately?

Rebecca Leveille: ” Good galleries will work hard to build a collector base and relationships for you. They can lift your prices and provide a reputation of having represented other strong artists that you yourself would like to be associated with. At a certain level of the art world, WHO buys your art becomes a relevant thing and galleries will have those contacts in the way that you won’t when selling your work. These prominent collectors also are unlikely to buy from you directly.

If you are just starting out- just do whatever you need to do to sell you work and build a life with it and don’t get into an EXCLUSIVE relationship with one gallery unless you are ready to.”

What are the benefits and disadvantages of selling your work through a gallery rather then privately?

Tran Nguyen: “There’s a sense of prestige and credibility that you gain from selling works through a gallery. You’ll be able to reach a wider collector’s audience and there’s usually more exposure when collaborating with them rather than selling privately. Galleries are a gateway for the public to learn more about art so it’s good to support a place where people can gather, look, and talk about beautiful art.”

To read the other Mentors’ answers to this question or any other in Edition 4 please click here to download our FREE Artist Resource, MentorMe.

The post What Is the Difference Between Selling Your Work Through a Gallery Rather Than Privately? appeared first on Beautiful Bizarre Magazine.

MentorMe is a free resource for creatives who wish to learn from their peers. This Q&A resource provides insights into advice for working with Galleries, what you should expect from working with a gallery, and the differences between selling privately versus through a gallery. In each guide a different group of artists and photographers will share their insights, personal experiences and advice with creatives that wish to grow and evolve in their artistic practice.

MentorMe Edition 4 Mentors:

Jeremy Mann, Tran Nguyen, Kevin Peterson, Joel Rea, Lori Nelson, Rebecca Leveille, Brandi Milne, Kris Kuksi, and Kathrin Longhurst.

• What advice would you give your fellow artists on how to get gallery representation?
• What are the 3 main do’s and don’ts for Galleries when working with artists?
• What are the benefits and disadvantages of selling your work through a gallery rather then privately?

Below 3 of the 9 mentors respond to the following question:

What Are the 3 Main Do’s and Don’ts for Galleries When Working with Artists?

What are the 3 main do’s and don’ts for galleries when working with artists?

Jeremy Mann: “Don’t tell your artists what to do; by the time an artist is skilled enough to even be showing in a respectable gallery they ought not be children at this point in their lives. Such creative people need to be able to grow and function under their own standards and decisions, hell even painting a painting to fit within a frame you already have so as to save money tends to lend itself towards restriction.

Above all, do NOT put your financial troubles or the desires and tastes of the uninformed public masses before your love and concern for the artists you represent, who are the pillars of your business. Allowing the public demands to fuel a gallery’s decisions is like letting me be a commentator on the Superbowl. The artists are the individuals in tune and fully engrossed in the culture of the day, the concerns of human conditions, the appreciation of beauty and disaster which comes from the deep understanding of life, and it is supposed to be the gallery’s job to give those voices safe harbour, to stand as  bastions of culture for the enlightenment of the public, and not the slaves to the flimsy whims of their wallets. For Pete’s sake, have some savings to weather the hard times!! We do!! And Lord knows artists have some hard times! We go diligently about our lives for months without any income creating a show with you, and then get slammed with one big check a month or two later, the funds of which we have to save conscientiously to weather the drought while we create wholeheartedly for another several months or more! For a gallery to exist with month to month financial pressure is completely absurd and I’ll hear nothing more of it. And I’ve even run my own gallery for a few years! And it was non-profit!! Criminy!

Lastly, if a gallery supports this viewpoint on what their great purpose is, then they are allowed, with all due respect and support by the artists and the collectors, to be exclusive. Not all art is good art, and the young artists of the world are seeing the ease of gallery wall space as being an affirmation to their quality, when in effect it’s just an attempt to sell more art on the cheap to a misinformed public. Make your gallery strong! Are you tired of all the hundreds of applications you receive daily with not only garbage art, but garbage art that was shot in a garbage photo setup, most likely with a smartphone by a desk lamp or, if you’re lucky, on an overcast day? The good artists you want to show in your gallery look first and foremost at the roster of artists you represent, and quite often we know each other and discuss amongst ourselves the characteristics of each gallerist, happily sharing those stories, both good and bad, with the only other souls who understand our experiences. All artists, of whatever level, will always have someone they look up to as well and it’s a known desire to “hang on the same wall” as their idols. But the gallery which desires such a high standard, must in itself carry the same high standards: artist first. There is always a market for any kind of artist, perhaps you just don’t find it, but it always migrates toward the true artists. The gallery is a long term investment, not a storefront, not an online shopping cart. Without the artists your gallery will not survive, and the artists are a strong, and permanent, army in the world’s culture. Without your galleries, the artists would suffer from lack of support to simply continue doing what they love and struggle to do, and perhaps then some great understanding will be forever lost under the oppression of monetary stress. Understanding that relationship to its fullest and honest degree will result in a gallery known not only worldwide, but in the venue of history itself.”

What are the 3 main do’s and don’ts for Galleries when working with artists?

Lori Nelson:

• Do make sure everyone is clear on what the commission split is and what, if any, “wiggle room” is built into the price.
• Do get to know each other, personally, if possible. It’s through real-life conversations that interesting ideas and concepts are born. Some of my favourite ideas were born when batting around kooky show concepts with Sean of Cotton Candy Machine when I worked with him in Brooklyn. Even if they were impossible, these brainstorms often led me to new ideas.
• Do be clear on whether the artist will be exclusive with the gallery, internationally, nationally, or regionally.
• Don’t conduct sales with gallery clients through the backdoors, alleyways, or under tables. If the collector knew about the work via the gallery, the commission split stands, even after the show (this advice is for the artist…).
• Don’t be afraid to discuss things that aren’t working. Communicate! Don’t forget to post, post, post about upcoming shows on social media, especially new and different posts, frequently.

What are the 3 main do’s and don’ts for Galleries when working with artists?

Kathrin Longhurst: “The number one thing I am looking for in a great gallery is that they are interested in building my career (not just sell my paintings). This means I enjoy regular contact with senior gallery staff to discuss career management, art prizes to enter, residencies to apply for, direction of my work etc. A good gallery should be more than just a shop front moving products through the place, instead they should be interested in long-term relationships with their artists and help them grow and thrive.

Secondly I also want a gallery to be trustworthy, reliable and most of all ethical. The art world is rife with dubious dealers that don’t pay their artists and display unethical behaviour. I would always check in with other artists represented by a gallery and ask them of their experience dealing with the gallery. If feedback is not favourable don’t put yourself through the pain.

Thirdly a gallery should be working hard for you. Never exhibit with “vanity galleries”, galleries that take exuberant exhibition fees and don’t make any effort to sell your work. It might be nice to have had a show in London or New York but ultimately people in the industry know that certain galleries will exhibit anyone prepared to pay for a show.”

To read the other Mentors’ answers to this question or any other in Edition 4 please click here to download our FREE Artist Resource, MentorMe.

The post What Are the 3 Main Do’s and Don’ts for Galleries When Working with Artists? appeared first on Beautiful Bizarre Magazine.

What advice would you give your fellow artists on how to get gallery representation?

Kris Kuksi: “This is a very difficult question. Firstly, you have to have sellable work – sellable being uniquely captivating, marketable and magnetising work that is visible out there in the ether. As an artist, knowing someone who knows someone who runs a gallery might place you at a slight advantage of being considered by that gallery, so networking is an essential element, no matter how daunting that may seem to the artistic soul. I would NEVER suggest sending a submission to a gallery unless they openly invite submissions. Galleries do not like to be art critics for artists, and do not generally enjoy the permeating aura of awkwardness that surrounds having to answer to inquiries about submitted examples, particularly in person.

Galleries are like hunters – they tend to want to seek you. It may not matter how many art degrees you have, or how scholarly astute you are. If your work can sell – you are in. Galleries need their artists to be appealing from a selling standpoint more than anything. Simply put, if what you do is great they will find you. Be patient.”

What advice would you give your fellow artists on how to get gallery representation?

Kevin Peterson:  “When I first decided to reach out to some galleries, I made a little book with about 10 of my best paintings. I had a bio section with CV and artist statement, but most importantly, nice high res images of my work. I used blurb.com for the book, but there are a lot of places that will make a nice little book for you for not a lot of money. I researched galleries that I thought would be a good fit for my work and sent out the book with a personalised cover letter. I also put in a stamped, self addressed envelope for the gallery to return the book if they wanted. If you get it back with a rejection, don’t worry about it, send it right off to your next choice.”

What advice would you give your fellow artists on how to get gallery representation?

Brandi Milne: ” I would say firstly, make sure you have a strong portfolio that is current and represents your talent and abilities. From there, there should be some research as to which galleries you’d like to work with, and then submit your portfolio. If possible, I would suggest walking in in person, introducing yourself, and letting them know you’d be very interested in showing in their space. Whether you are able to do that in person or online, there should be a follow up email or phone call, if you’ve not heard back from the gallery. It’s important to remember that there are many artists seeking representation, and though you are unique, there might be a few rejections along the way. This can be discouraging, or you can look at it as a challenge, which can motivate you and inspire you to work harder! Keep your attitude positive, and keep trying!!”

To read the other Mentors’ answers to this question or any other in Edition 4 please click here to download our FREE Artist Resource, MentorMe.

The post What Advice Would You Give On How To Get Gallery Representation? appeared first on Beautiful Bizarre Magazine.

Artist: Camilla d’Errico [Haven Gallery]

After artists are given the opportunity to exhibit, what are the top 5 Do’s and Don’ts for artists working with galleries?

Erica Berkowitz, Director of Haven Gallery:

• Do not raise or double your price to accommodate the gallery’s commission. Pricing must be consistent across the board, whether selling out of your studio or via a gallery.
• Do not over saturate your market. Schedule your shows accordingly. If you reach out to a handful of galleries, and are invited to exhibit, strategize your schedule and debuts.
• Listen to your galleries but also consult your peers. Galleries intentions should be good because when you succeed, they succeed. But if anything seems strange, check in with your peers to ensure all is copacetic.
• When exhibiting with a gallery for the first time, do take some extra time to make an extra special work and consider your deadlines. This introduction is essentially your first impression and could be your last if not taken seriously.
• Do ask questions! If you’re unsure or confused by anything, ask! Communication is vital to any and all relationships and build stronger rapport between people.
• Do not disregard the importance of a website with an updated C.V. When collectors are looking you up, to help aid in their acquisition decisions, do not make it hard for them, or your gallerist to unearth these details. There are many collectors out there who still care to see these details.

Artist: Yoko D’Holbachie [AFA Gallery]

After artists are given the opportunity to exhibit, what are the top 5 Do’s and Don’ts for artists working with galleries?

Heidi Leigh, Director of AFA Gallery New York:

DO’S:

• Do show up for the opening reception if you are expected.
• Do understand that Gallerists have a passion to spend their life promoting art the same way you have a passion to create it. What would we do without each other? In other words, we should share a mutual vision for success, both of us doing what we are best at. Your gallery works as hard as you do, too!
• Do support the galleries PR efforts with your social media
• Do share important info about fair market value prices and keep your wholesale/retail prices consistent. Do understand that event and overhead can be a really big nut, and all showrooms are not geographically equal; so collaborating to share advertising or event fees, is very helpful in the big apple.
• Do be clear about specific installation information, and above all get the work to the venue on time! It’s super important for promotional efforts for a gallery to have good photographs and comprehensive information in advance.

DON’TS:

• Don’t blast a ‘sale’ or sell original artwork on your social media, (Sure, sell older work for great price but quietly and privately).
• Never talk trash. If your intention is to promote art and culture in this world, then understand that while while nobody’s perfect, anybody with their whole heart in this industry must be dedicated to doing the best they can, and I think it’s so important to focus on success rather than criticism.
• Don’t stretch yourself to thin or you may not be able to deliver what you promised.
• Don’t take commissions from gallery clients or retail dollars and inquiries from the gallery’s publicity efforts; give these inquiries back to the gallery, and focus on what you have cooking in the studio!
• Don’t neglect to build a portfolio for yourself or set goals for the future of your artistic career. The recent trend that some artists are trying to handle the business aspect of their own careers take time away from studio time, disturbing creative flow and slowing production momentum. The whole industry is wondering where is this road going? It seems to me that this is a slippery slope, and best idea is to do what we are all best at, and focus on that. Some collectors enjoy the recent accessibility of certain artists so much, that they go to galleries only to browse, and then search for artists willing to sell directly to them! If galleries and artists have a mutually supportive and symbiotic relationship, it is good for the goose and the gander…. two sides of the same coin that is pure gold.

Artist: Peca [Copro Gallery]

After artists are given the opportunity to exhibit, what are the top 5 Do’s and Don’ts for artists working with galleries?

Gary Pressman, Director of Copro Gallery:

• Do your best work and really try to come up with something that is going to be noticed. If you are getting and opportunity, make the best of it!
• Be prompt with making deadlines and don’t wait till last minute
• Be precise and calculated with shipping if you’re not local to the gallery. Make sure it’s going to the right address and be sure to use FedEx or UPS rather than US mail, which is unpredictable.
• Don’t worry about a high price on your work as much as making sure it will sell. Showing in a gallery is like advertising and reaps many benefits so factor that into your pricing. Nothing looks better than a red dot on your art at the opening.
• Be easy to work with and create a good reputation and impression on everyone around you. Work with galleries and collectors as much as possible and show gratitude. Stay away from posting anything political or negative if you want to sell art. If you’re anti-republican or a democrat that could wipe out 50% of your audience.

To read the other Mentors’ answers to this question or any other in Edition 3 please click here to download our FREE Artist Resource, MentorMe.

The post What are the Top 5 Do’s and Don’ts for Artists Working with Galleries? appeared first on Beautiful Bizarre Magazine.

Artist: Naoto Hattori [Beinart Gallery]

What Is the Biggest No No for Artists When Seeking Gallery Representation?

Corinne & Jon Beinart, Directors of Beinart Gallery:

“The absolute biggest NO NO for us is when people approach us, unannounced, in person at the gallery to share their work. This is even more of a “no no” at an opening! We have had quite a few people approach us at another artists opening and expect us to stop to look through their portfolio. Sometimes they just hold their phone in front of our face and flick through images. This is not a good way to show your art to us. And it is incredibly disrespectful to the artist who is opening their show. Often artists work for many, many months, sometimes even longer, to build a body of work for an exhibition and on opening night we are 100% dedicated to them. Also, opening nights are very busy and as well as working with artists we are very busy speaking with collectors and making sure that everyone who came out to see the art is having a wonderful night. We rarely have time to sit for a moment much less look at someone’s portfolio. Also, you are doing yourself a disservice.

If you are sharing your art with a new gallery, make sure you do it in a way that ensures they have ample time to look through it with you. This is your artwork so don’t rush it! The best way to do this is to follow the gallery’s submission process. Generally, this begins with reading the gallery’s submission guidelines carefully and sending an email. If the gallery thinks that your work is a good fit, they will follow up with you and may even arrange a time for a studio visit, for you to visit the gallery space or, if there is distance, a phone/email/skype conversation. If the gallery does not think your work is a good fit, don’t despair. Don’t continue to push it with them – keep going and approach another gallery. Another gallery may feel your work is a perfect fit for them! Remember that is is part of a gallery’s job to connect your work to an audience and collector base. Every gallery’s audience and collector base is different as is the personal taste of every gallery director/curator. Find multiple galleries that show work that is somehow related to your work, either in theme, style or aesthetic, and after submitting keep up the search. Ultimately you will find one that is a good fit.”

Artist: Daniel Dust [Distinction Gallery]

What Is the Biggest No No for Artists When Seeking Gallery Representation?

Melissa Walker, Director of Distinction Gallery:

“I would say the biggest no no is submitting work to a gallery without first looking at what type of work they exhibit. I am continually getting submissions that are far outside the realm of what we exhibit. My other pet peeve is when artists walk into the gallery with art and expect the staff to drop everything to look at art. I personally look at every email submission, which is the only way we view artwork.”

Artist: Dustin Bailard [Future Gallery]

What Is the Biggest No No for Artists When Seeking Gallery Representation?

David DeRue, Director of Future Gallery:

“Never start up drama or trouble for those involved with this tightly networked community. Artists should make sure to be able to maintain emotional and professional stability, or at least just hold back from getting involved just yet. Yet, this doesn’t stop some from their eccentric behaviour from burning down their bridges. Blacklisted: Why waste our time with these types?

Much of our success comes from the love and respect many of our artists share for this way of life; helping one another to learn, promote, and build into a tiered network. We are always looking for those who work hard and understand this mutual respect. Causing drama works for reality TV and social media – but we really don’t have time or energy to waste on this. I don’t think a single gallery does.”

To read the other Mentors’ answers to this question or any other in Edition 3 please click here to download our FREE Artist Resource, MentorMe.

The post What Is the Biggest No No for Artists When Seeking Gallery Representation? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

How do artists get their work seen / shown by a gallery?

Artist: Alex Garant [Spoke Art Gallery]

How do artists get their work seen/shown by a gallery?

Ken Harman Hashimoto, Director of Spoke Art Gallery: “The best advice I can give is simply to make the best work you can, strive to continually grow as an artist, and make sure you document and promote your work well by sharing on social media and getting your work on various art blogs. If you make amazing work and get in front of people, someone is going to notice!”

Artist: Herakut [Corey Helford Gallery]

How do artists get their work seen/shown by a gallery?

Jan Corey Helford, Director of Corey Helford Gallery: “Here’s the plain and simple: Choose a gallery where you fit. Galleries know their collectors and the work they show reflects the taste of those collectors. Once you’ve found a good match for your work, email a brief note with just 3 of your favourite paintings attached. Don’t overwhelm. If the curator responds to the work, he, she or they will seek you out and request more. Sending too many works seems desperate. Also, never address your email to “Dear Gallery” or Gallerist, or Curator, or Director. That is the equivalent of greeting someone on the street with “Hi, citizen!” Make it personal. Take the time to find the name. It will be appreciated. Mailing an invitation to an upcoming show with a postcard is also a way of getting your work noticed. Gallerists always pore through ephemera from other galleries. And who doesn’t love an invite?”

Artist: Crystal Morey [Modern Eden Gallery]

How do artists get their work seen/shown by a gallery?

Kim Larson & Bradley Platz, Directors and Co-Curators of Modern Eden Gallery: “We are always on the hunt for art that is original and exciting and of course, created with excellent quality and skill. Once a gallery notices your work it can be relatively easy or still surprisingly difficult to be shown by that gallery. When working with artists, we take location, market saturation, personality, and many other factors into consideration before representation.

Besides the artwork itself, the next most important thing is for the artist to know the specifics of their works and career including medium, size, date, and pricing. If you have anything on your resume that makes you proud, share that with the gallery. It always catches our attention to see awards, magazine features, blog articles, or museum shows in an artist’s introduction.

The final factor for us is how well an artist gets to know us. While we understand that not everyone can attend our openings in person, we always appreciate an engagement beyond a blind submission. Whether you visit our gallery, stop by our booth at an art fair, or engage with us and our artists on social media, there are many ways to establish and foster a deeper relationship.”

To read the other Mentors’ answers to this question or any other in Edition 3 please click here to download our FREE Artist Resource, MentorMe.

The post How Do Artists Get Their Work Seen / Shown by a Gallery? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

How did you find your personal style?

When did you feel you have reached a place where your work was recognisable and you could continue confidently with the same work?

How did you find your personal style? When did you feel you have reached a place where your work was recognisable and you could continue confidently with the same work?

Martin Wittfooth: “I think one’s personal style comes together over time. I tend to think that this is a natural process that comes with exploration. It’s probably wise to not be preoccupied with having it established too early – I think there’s a lot to be said (and less stress to carry around) about being patient and open to a lot of influence from all directions (art and everything else).

When asked for advice on this topic, my reply is usually the same: don’t make art for some phantom audience or market. Make it for yourself. Make art that speaks to you enough that you’d like to hang it on your own wall. And be honest with yourself: if you think you can make better work than you’re making then you can. Stop comparing your work to others’, but do let others be beacons of inspiration for you.

Regarding the second question, I’m not sure when it happened for me, though I believe a turning point where I no longer felt so awkward about what I was doing was in 2010. That said, the work is always evolving in some direction, and I hope that I’ll continue to look back at what I’ve made every so often and rest easy knowing that one’s style isn’t a static or frozen concept.”

How did you find your personal style? When did you feel you have reached a place where your work was recognisable and you could continue confidently with the same work?

Nicomi Nix Turner: “I think in terms of personal style, it’s just been a refining process for me. Insects, botanicals, animals and women have played roles in my worked for quite a long while now, but it’s been about 10 years of developing the way those elements are rendered that has really brought, I guess, what would be considered my personal style.

It’s all been quite a natural thing really. I never had a goal of what I want things to look like and I really disliked the notion of “want my works to look like x artist” or I’m going to do that the way x artist did that? I’ve really found that good things can happen when you allow your hand to develop and I can honestly say that although my works may be recognisable and I certainly have developed a constant aesthetic, I still allow myself to grow, learn and change my working process. I used to set a bunch of rules for myself and was quite rigid in what I told myself I could and couldn’t do in my working practice, but I’ve let loose the reins a bit and it’s been nice to see happy surprises occurring once more in my works.”

How did you find your personal style? When did you feel you have reached a place where your work was recognisable and you could continue confidently with the same work?

Brian Viveros: “I found my true style and voice when I finally decided just to let go and paint from what I really knew and loved. My “real” voice ultimately came from the childhood influences that grew into adult passions – my love of wrestling, boxing, bullfighting, comics, the surreal and absurd, the beautiful and the bizarre, the list goes on. I incorporated all of these aesthetics and cultural influences into my paintings and my depiction of the female form.

I was big on headgear and helmets as a kid, something I collect obsessively to this day and incorporate as props into my work. I love Lucha Libra wrestling and boxing, vintage military gear and Day of the Dead art, so all of these individual elements gradually appeared and have been integrated into my aesthetic and imagery ever since. And oh yeah, I can’t forget the smoking, yes, I used to love smoking.

Keeping things bold and easy to read was going to be my thing. It was going to be an important aspect of my work as it came into its own. I wanted the pieces to be impactful and commanding, the old ‘less is more’ would be my approach and key element in order to bring my paintings to life. The very first Dirtyland girl was painted for my first solo show in Switzerland back in 2007, and that’s when everything came together, the red sea had parted, I had a new found energy and my mind was full of new ideas. That pivotal show is when I knew that I was on the right path and I even felt like something significant was happening, based on the reactions of people viewing this work for the first time.

There was something distinct and new about my girls, they were mine, and they conveyed a signature “Viveros feel”. The red rose, the cigarette, the stare, the eyes… I felt like I had discovered a new signature look and approach to pin-up art. My version would be the “anti-pin-up”. My women would represent strength and power; tough but sensual, they would embody the courage of the feminine as empowered Victor. Impassable and steadfast, my Dirtyland warriors could not be broken down.

I was building an army of something special and it was like a switch went off and a voice inside my head was telling me “this is who you are, you’re no holding back”. I’d found my niche, and the people loved it. After that, the ideas just poured out like wine or blood, both of which I like. My work became very recognizable and became a signature of sorts from that point on. Since then, Dirtyland army has continued to grow and take me all around the world. I’m thankful for the fans and supporters and everything.”

To read the other Mentors’ answers to this question or any other in Edition 2 please click here to download our FREE Artist Resource, MentorMe.

The post How Did You Find Your Personal Style? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

What obstacles have you encountered as an artist, and what were you able to do to overcome or navigate those to become stronger and more effective?

What obstacles have you encountered as an artist, and what were you able to do to overcome or navigate those to become stronger and more effective?

Caia Koopman: “There are so many obstacles to hurdle as an artist, it’s hard to pick where to start. How to stay afloat financially, how to survive painting for the year it takes to fill up a gallery for a solo show, what if the show doesn’t sell very well, what to paint, who to please (yourself or your audience), are you ok with spending hours upon hours all by yourself just working on your art, can you afford to experiment or change your style, how to survive a nasty case of artist block, where to find inspiration, what is your message, should I even be an artist?

Holy fudgesicles it’s not easy! The answer to this question is all of the above and yes I was able to overcome these things (if just barely) and I do feel I have become stronger and more effective ultimately but not easily.”

What obstacles have you encountered as an artist, and what were you able to do to overcome or navigate those to become stronger and more effective?

Kindra Nikole: “Too many obstacles to begin recounting here, so I’ll have to pick the few that stick out to me the most prominently. The first: other people discouraging me from following my own path. This includes well-intentioned folk—people I considered close friends. Sometimes that discouragement would be very blatant. When I was a teenager, a wealthy photographer with his own studio in a swanky city, offered to look through my work and then scoffed at my portfolio.

He told me I’d never “make it” unless I paid tens of thousands of dollars to attend the same prestigious school he went to. I had friends discourage me from exploring colour in my drawings until I read loads of books and went to art school. I had other friends tell me that unless I was drawing every single day, I’d fail at whatever my artistic endeavours might be. Basically everyone will have an opinion about your decision to pursue art and the way in which you choose to pursue it. And the thing is, much of the advice was indeed meant to aid me. But at the time, it hurt my newly forming artistic sensibilities, which were quite young and fragile, and I chose to allow those things to stunt my growth and discourage me; which leads me to my next thought regarding obstacles.

Self-doubt. Whether that doubt is created entirely on your own or grows from the discouragement that you can and will hear from others, self-doubt destroys magical opportunities and crushes your ability to truly come into your own as an artist. I allowed my own self-doubt and the words of others to take the helm in my very personal internal artistic space—a space I had commanded my entire life prior. It wasn’t until I adamantly told that nagging voice in my head to go away and that I was bored with listening to it that I really started to find myself again. When I allowed myself to play, without judgment, and experiment, that’s when I tapped back in to those deep passionate roots. They’d been there all along, just waiting for me to decide that I was ready to be myself once more.

Everyone has something to say about the choices you make and the path you lead, including yourself. Learn to drown out the rabble with your own personal passion. Allow yourself to play and experiment in the same way you would as a child. You wouldn’t tell a child colouring with pencils and paints and sparkles to “be more sensible,” would you? Treat yourself with that same gentle regard when creating. Also: being a bit obstinate, when well considered, can go a long way.”

What obstacles have you encountered as an artist, and what were you able to do to overcome or navigate those to become stronger and more effective?

Rodrigo Luff: “In 2009, I left the Julian Ashton Art School and I had no idea what I was going to do with the skills I learnt there. Hardly any of the contemporary galleries wanted oil paintings or drawings that were figurative, especially with female nudes or anything too “pretty”. They didn’t want artwork that looked too much like illustration either. I had the misfortune of making work that had all of these elements, so I didn’t have much hope of getting an exhibition, let alone selling my work.

So I just decided to post my work on my online blog (anyone remember blogspot.com?) and just make work for fun. This sparked the curiosity of some new galleries on the West Coast of the USA – mainly around the L.A. area and San Francisco. I agreed to exhibit my work because I wanted to bypass the whole Australian art scene and just go somewhere else that would allow me to paint and draw what I wanted.

The internet and early days of social media as well as a massive dose of luck really helped me overcome that initial hurdle, and since then I’ve been exhibiting in the U.S. regularly. Meeting the local artists, fans and gallery owners in person also really helped me connect with like minded people and encourage me to work harder and continue on the path.

It’s only in the past year that I’ve been able to exhibit more of my work in Australia to a more receptive audience, and that is thanks to wonderful, supportive people like the owners of Beinart Gallery (and your magazine of course!). I’d encourage everyone to do whatever it takes to make the work that you want to do. Don’t compromise your own vision and the work you believe in to fit into a particular scene or industry, even if it involves travelling to the other side of the planet and spending a lot on shipping!”

To read the other Mentors’ answers to this question or any other in Edition 2 please click here to download our FREE Artist Resource, MentorMe.

The post What Obstacles Have You Encountered As An Artist? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

Have you changed your initial field/medium since beginning your artistic journey?

Or have you remained true to your original medium and passion for what you wanted to create? If not, where has your artistic journey led you and why?

Have you changed your initial field/medium since beginning your artistic journey? Or have you remained true to your original medium and passion for what you wanted to create? If not, where has your artistic journey led you and why?

Hannah Yata: “I’ve stuck to the same medium (oil painting) since I started my career as an artist. Although I did do some experiments with other types of paints like acrylics and watercolour, ultimately oils felt like the most natural, raw, and genuine substance to paint with.

I think my artistic journey has led me somewhere strange and beautiful; discovering my roots and what it means to be a woman, what it means to be feminine, and to reconnect with nature in a more than human world.”

Have you changed your initial field/medium since beginning your artistic journey? Or have you remained true to your original medium and passion for what you wanted to create? If not, where has your artistic journey led you and why?

Jim McKenzie: “Everyday our surroundings are just a little more different than they were the day before. As humans we are constantly growing and changing. We ingest new information and experience that changes our perspective towards things day by day. I think the work I make follows along in the same flow. The subject matter, feeling, and medium changes all the time depending on the mood I’m in at that particular moment.”

Have you changed your initial field/medium since beginning your artistic journey? Or have you remained true to your original medium and passion for what you wanted to create? If not, where has your artistic journey led you and why?

Derek Gores: “I worked in commercial art for almost two decades, making merchandising art for bands (Depeche Mode, U2, Van Halen, Grateful Dead) as well as for sports before finally taking the leap into my own personal fine art.

I learned to speak in many visual languages, which helped once my inner passions were more fully formed.”

To read the other Mentors’ answers to this question or any other in Edition 2 please click here to download our FREE Artist Resource, MentorMe.

The post Have You Changed Your Initial Field / Medium Since Beginning Your Artistic Journey? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

How did you overcome traditional “contemporary” art expectations to create work in your unique style?

How did you overcome traditional “contemporary” art expectations to create work in your unique style?

Peca: ” Our art is exponentially bombarded with influences, yet we maintain our particularities given by the brushstrokes, the combinations we make, the priorities we have, our obsessions, our jumps to emptiness. I think that fundamentally these two last points are our identity imprint, our unique style. My obsession is the search for the magical, the primitive, the wild, the oneiric, I am interested above all to break the rules of our establishment, think that other ways are possible, find the meaning of life when I was a teenager reading a book by Antonin Artaud I found this phrase: “The serious thing is that we know that after the order of  this world there are others” resonated within me and stay with me forever. This synthesizes a bit of my obsession. The old school and the new art trends are inside us, is our ailment, is our inspiration and the tool to pursue our goal.”

How did you overcome traditional “contemporary” art expectations to create work in your unique style?

Redd Walitzki: ” The only expectations to try to live up to, are those we place on ourselves. In the outside art-world, there are popular fads and styles, work that’s applauded or reviled, or at worst ignored. Thinking about these factors has never produced strong work — truly powerful art is born from personal experience and unique perspective.

When I’m working, I’m not thinking about whether flowers or lobsters are “in” or “out” of fashion, or even about “style”. Instead, I ask myself: “Is this something I want to see? Is this something I want to say?” If the answer is yes, chances are good that the piece will be unique and contain something of value.

The cultural Zeitgeist is a powerful force, and by considering what piece is missing in the world around us, and then bringing it to life, you can stumble upon something transformative and new. Its also likely that’s exactly what everyone else is craving too!”

How did you overcome traditional “contemporary” art expectations to create work in your unique style?

Josh Keyes: ” I sort of feel like I’m not trying to overcome any expectations. I feel like the major expectations that I have for my work and the direction are my own. I also have a lot of insecurities about the quality, style, concept and execution of the work I make. In some way my personal doubts tend to be the fuel for creating work, if you claw at the dirt enough, you will eventually get out. Of course the joke is that there is no out, or in for that matter. But there is a desire for continuous expression and a goal of creating something that has an ounce of meaning. To get back to your question, today there are numerous styles of work being made, I respond to many, and if there is some idea that has hit it on the head, I might try to reinvent or rework it with my voice.”

To read the other Mentors’ answers to this question or any other in Edition 5 please click here to download our FREE Artist Resource, MentorMe.

The post How Did You Overcome Expectations to Create Work in Your Unique Style? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

Tell us about your journey. What are some ups and downs you experienced along the way?

Tell us about your journey. What are some ups and downs you experienced along the way?

Jane Burton: “For me, probably the most difficult thing at times has been believing in my worth as an artist. Creating art is so often a solitary practice, making it is easy for self-doubt to arise. It’s never been so much a case of not believing in the quality of my work but more a questioning of its relevance within the art world, and beyond. Sometimes I feel that making art is an indulgence, a selfish pursuit. But on the other hand, when my work is appreciated and supported, I feel worthwhile. It’s very difficult at times not to be emotionally affected by a response to one’s work, or a lack of response. The very best moments for me along the way are when people I respect understand my work. I feel elated and grateful to be understood. That is success to me. To create a piece of art that can transport the viewer; provoke; seduce.”

Tell us about your journey. What are some ups and downs you experienced along the way?

Kate MacDowell: “I worked as a project manager in web design and was a high school English teacher before first taking ceramics classes at a local art center. So my educational background was in English Literature with a few art history, film and photography classes. But I had gone for one year to an arts immersion high school and some of the habits of medium exploration, sketching, life drawing, and visiting galleries that I had made during that year served me well when I returned to art making much later. Also being able to write about my art and look at it in historical context has been useful, and that came mostly from literary criticism. I think being fascinated by figurative and poetic language, made working with visual symbolism and metaphors easier as well.

There have been great ups when certain images of my work started getting spread around online, and suddenly I had a lot of opportunities being offered to exhibit. More than I could accept at one time. That’s the downside, it’s kind of feast or famine, but it still takes the same amount of time to make a piece, so pacing can be difficult. I had to sayno to great opportunities because of time conflicts, but then have other periods that are really slow.

Downs for me are mostly the learning curve of getting to know a tricky medium (porcelain clay) and the constant troubleshooting necessary when experimenting with making different bodies of work. Also as I don’t teach outside of workshops, I’m pretty isolated in my home studio and that that can be lonely. Having interns and taking continuing ed art classes have helped with that in the past, but trying to build a network of makers I can visit with and bounce ideas off of in real life (as well as online) is a constant goal.”

Tell us about your journey. What are some ups and downs you experienced along the way?

Ewa Prończuk-Kuziak: “I loved to paint and draw for as long as I can remember but I never thought I would do it professionally. I had been studying Polish language studies when I decided to enroll to the Fine Arts Academy. At this point, I also came across pop surrealism and I fell madly in love with it. At my university this wasn’t a popular artistic trend. I was being convinced that I should take a different path, but I didn’t want to make such changes. It was a difficult time for me. I didn’t know what to do; I had an artistic blockage. I doubted whether painting was a good choice. This is when I decided to take a breath in and go for a scholarship to the Royal Fine Arts Academy in Antwerp, Belgium. When I got back, being on my last year of studies, I started to work with a different professor who said, “Do what you love and what you believe is proper. If this is exactly what you want to do, be consistent and don’t look back on others”. It was the support I needed. Soon after getting my diploma, I gave birth to my daughter and since then I have been combining motherhood with painting, which wasn’t easy at first.

After studies, I had moments when I couldn’t support myself from my art and I painted thanks to the support of my family. But I kept on working and developing my skills. I started to publish my works on social media. I followed my beloved artists, galleries, and art magazines. I tried to be active in projects executed by them. I remember my first contest organised by Beautiful Bizarre Magazine that I took part in. My work was spotted and this gave me a lot of positive energy and motivation for further actions. Soon afterwards I started to cooperate with an Australian 19 Karen Contemporary Artspace gallery, and soon after that with Corey Helford Gallery. A very personal and humongous moment for me was an invitation from CHG for an exhibition in 2016. I will never forget that feeling when I entered the gallery and I saw my painting next to works of artists like Ray Caesar, Ron English, or Marion Peck. It was a truly magical moment for me. My art was presented next to artists that I have been really admiring for years; this is when I felt I was in the right place.”

To read the other Mentors’ answers to this question or any other in Edition 5 please click here to download our FREE Artist Resource, MentorMe.

The post What Are Some Ups and Downs You Have Experienced in Your Artistic Journey? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

How do you keep rooted in your values / beliefs and your personal views whilst speaking to a large group of people?

How do you keep rooted in your values/beliefs and your personal views whilst speaking to a large group of people?

Miles Johnston: “Good question, I try to embrace the fact that I don’t really have to represent anyone except myself. I feel like since I have the lucky position of being able to be authentic, and I am not ashamed of who I am.”

How do you keep rooted in your values/beliefs and your personal views whilst speaking to a large group of people?

Juz Kitson: “I think the more I delve into my practice, the theories behind it and my morals and beliefs in life both socially and politically, the easier it has become to stay rooted in what I believe as a female artist. As a young artist fresh out of University in my early 20’s I felt I couldn’t express myself verbally in front of a large group or have the confidence to even call myself an artist, there was a sense of insecurity, but that changed when I made a conscious decision to express wholeheartedly and stay true to my creative vision and I now get up in front of a large crowd confidently and the thought I have in that moment is, ‘Just be yourself’.”

How do you keep rooted in your values/beliefs and your personal views whilst speaking to a large group of people?

Marco Mazzoni: “One of the few things I realised immediately (right at the beginning of my career, 15 years ago) about contemporary art is that you have to try and talk, through your artworks, about whatever you know best personally. The artist must be honest in his work, as the work itself is transparent and it reveals both the subject and the author’s authenticity.

When I started, I was a young student coming from a small village in the countryside, populated almost entirely by elderly people. I spent the first four years of my artistic career drawing their faces, because I knew them well and I also knew that every wrinkle on those faces concealed a certain story.

When I came to Milan, I realised that the world was much more complex than I thought back in the village, and I tried therefore to dig deeper in my roots. This is when I began studying the folklore tales about witches and animals from my mother’s village of origin in Sardinia, to show, visually, the devastating strength of femininity, a difficult topic especially for my country. I noticed that there was a cultural problem around me and I wanted to highlight how being a woman in Italy has a long story and inevitable importance.

I think that when you face the world as an artist, you simply have to prove that you know exactly what you are talking about, and that you know so well because you are aware of the road you walked down to reach your working paper, or canvas.”

To read the other Mentors’ answers to this question or any other in Edition 5 please click here to download our FREE Artist Resource, MentorMe.

The post How Do You Keep Rooted in Your Values / Beliefs? appeared first on Beautiful Bizarre Magazine.

Below 3 of the 9 mentors respond to the following question:

What are your top tips for others who wish to be creative but feel stuck, don’t know where to start, or feel like they aren’t ‘good enough’ to do so?

What are your top tips for others who wish to be creative but feel stuck, don’t know where to start, or feel like they aren’t “good enough” to do so?

Mab Graves: “This one is hard for me. I have actually never yet been stuck. I think it may be because I came into painting later then a lot of people (I was 21 when I first picked up a brush). I think I have a lot of backlog inspiration to catch up on. I would probably recommend not pushing it though. If it doesn’t want to come, try playing around with a different medium. I draw paint with gouache, acrylic, oils and watercolour. I also sculpt, sew and needle-felt. I think playing with so many mediums may also be a reason I haven’t gotten stuck yet. I have so much to explore and lifetimes of learning to do. If the medium you are working in isn’t singing for you, maybe it’s not “your” medium. I think when you find the material that makes your voice sing, it will flow. It may be a medium you totally weren’t expecting.

As far as being “good enough” – that’s something I’ve never worried about. Ask yourself who you are painting for? As long as its you, painting makes you happy and you like your work don’t worry about anyone else. Every artist is different and there is no “best” in art. Its all completely subjective and never try to compare yourself to someone else. Work that brings one person to tears could be totally “meh” to the next viewer. Just love what comes out of you, create for yourself and don’t put too much value on praise or criticism. Its your voice and the way you process the world. There is no wrong way to do that.”

What are your top tips for others who wish to be creative but feel stuck, don’t know where to start, or feel like they aren’t “good enough” to do so?

Fin Dac: “Alas, doubt kills far more dreams than failure ever will. Most of us think that we aren’t ‘good enough to do so’… self-doubt is after all the creative’s curse. You’re not alone but know that those doubts and fears are why most people end up working jobs they hate…

For me personally, there came a low point in my life when the fear of never creating outweighed the fear of failure. I felt like I had a wasted talent and wanted to prove, even just to myself, that I didn’t suck at everything.

For those who don’t necessarily have the belief in themselves or what they’re capable of I’d offer this analogy:

When you first get behind the wheel of a car, are you a good driver? Chances are, like most people, you suck. What makes you a better driver is practice… it’s that simple. Apart from a few gifted individuals, being an artist is the same. Practice makes perfect but don’t make perfection the principle point of departure: it takes hard work and dedication to get even close to that.

You honestly have no idea what you’re capable of until you start… don’t let those doubts and fears stop you from starting and finding out. Your art or creativity could be the one thing in your life that gives you reason to live, the thing that gets your heart beating that little bit faster, the thing that will give you highs and lows that you never thought possible and that gives you pride in yourself and who you really are. Can you really give all that up because you’re a little bit frightened or unsure of yourself?”

What are your top tips for others who wish to be creative but feel stuck, don’t know where to start, or feel like they aren’t “good enough” to do so?

Young Chun: “Truthfully, I don’t think there is such thing as ‘not being good enough’, because what is considered to be ‘good’ in art is a matter of opinion. But, if one feels that he/she is lacking in technical skills, to create the art envisioned, it is important then to strengthen those skills; either by taking art classes or learning through books, etc. So that he/she can effectively express and relay to others the art that is imagined. Also, I think that it can help to have other interests besides just art; such as music, sports or whatever, in order to prevent oneself from feeling stuck or drained because, often at times, these other interests become the foundation or theme to one’s art.

To read the other Mentors’ answers to this question or any other in Edition 1 please click here to download our FREE Artist Resource, MentorMe.

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How do you set a price for your artwork?

Jana Brike: “I ask for advice from my galleries, as they are the ones who actually do the selling. I also do an examination every couple of years of what the average prices are for artworks on a similar level, so I can put my wall art for sale (and my other artwork) for the right price. Personally, my prices in general are on the lower side. I like them to find good homes where they are loved.”

How do you set a price for your artwork?

Sheri DeBow: “Pricing is my absolute least favourite part of being an artist. So that being said, I try very hard to remove my emotion from the piece and just think time, materials and expertise. To be fair, in the end the money is icing on the cake. Most of us do our art out of passion or compulsion, and we were doing it when we were making hardly any money. Even when, at times, it can feel like slaves’ wages, we are still going to keep doing art.”

How do you set a price for your artwork?

Sarah Joncas: “My only advice would be to try not to get attached to the work because that emotional connection can fool you into thinking something is worth more than it is. If you’re just starting out, go slow. Don’t expect incredible rewards straight off the bat: you have to work for your supper.

I started selling my work really young (at 17 years old), and priced it very low. I was selling 18 x 24″ paintings for $50. It wasn’t until I started selling more in galleries that I was given advice on raising my prices. I would suggest looking around at what other artists of your caliber and stage are selling. Don’t be greedy, but no need to be so modest that you aren’t covering your time and materials. Once you start selling consistently, you can increase your prices slowly and periodically. I wont raise mine more than once a year by any more then 10% – and some years I don’t at all. Though I’m sure this can vary depending on your popularity and demand.”

To read the other Mentors’ answers to this question or any other in Edition 1 please click here to download our FREE Artist Resource, MentorMe.

The post How Do You Set a Price For Your Artwork? appeared first on Beautiful Bizarre Magazine.

MentorMe is a free resource for creatives who wish to learn from their peers. This Q&A resource provides insights into how some of the most esteemed artists have made a name for themselves in an increasingly competitive art market, how they make a business of being an artist, how they found their niche, intimate details of their practice etc. In each guide a different group of artists and photographers will share their insights, personal experiences and advice with creatives that wish to grow and evolve in their artistic practice.

How do you market yourself and your art to gain recognition from galleries and collectors?

Audrey Kawasaki: “Over ten years ago, before I was a full-time artist I spoke to coffee shop and boutique store owners, and they agreed to have my work displayed on their walls. One of the stores was a part of a monthly art walk night event in the local area, and from there I had my opportunity to meet gallery owners and collectors, and things took off.

Since then I make sure to keep updating and posting on various social media (e.g. Instagram, Facebook, etc.), blogs and my website. I’m continuing to work and show at galleries and taking part in projects where my work can be seen by the crowd. Mural work, I feel, really helped expand my audience.

I tend to be a bit of an introvert, but I am realising it’s really important to challenge yourself with things that you’re not quite comfortable with. To try to get out there and be involved with the community and form connections with people, that you might not otherwise.”

How do you market yourself and your art to gain recognition from galleries and collectors?

Troy Brooks: “Start noticing what gets your attention with regard to new art. Is it a time lapse video of a work in progress? Is it an interesting blog or interview?

First and foremost, I think it’s important to have a decent website, and not a flash website that takes a million years to load. Then to promote your work, I think it’s important to know your audience. Track down an art blog that fits your aesthetic and try to get them interested in sharing you with their audience.

There is so much opportunity for talent to connect with an audience now it’s almost overwhelming.”

How do you market yourself and your art to gain recognition from galleries and collectors?

Mahlimae: “The only conscious decision I made in regards to marketing my art initially was to sign up to a range of social media platforms. Although social media now seems to be a changing landscape for artists, with the various algorithms to contend with and suggestions for paid/sponsored posts. For those just starting, they may need to buy Facebook likes to get ahead and get noticed. However, I still feel Facebook is the best way to reach a worldwide audience of potential collectors and galleries alike. I don’t feel particularly comfortable with sharing a whole lot about my personal life on social media so in some ways I chose not to market ‘myself’ and let my art speak for me.

The majority of collectors, galleries and magazines I have worked with in the past have indicated they ‘found me’ via social media, so it has been the most successful marketing too for my work overall.

That being said, I think an easy to navigate, professional looking website is another important factor in a marketing plan. Although it may not get the same traffic social media may attract, it certainly helps to have an up-to-date website that you can guide people to should they wish to learn more about you, browse previous works, view upcoming exhibitions, purchase work, etc.

There are loads of great sites out there with easy to use templates to help you build your own website for free – although it will cost you to purchase a domain name and subsequent hosting. There are ways to create a beautiful and basic site without it costing the earth, and if I can build my own website then I am positive anyone can.”

To read the other Mentors’ answers to this question or any other in Edition 1 please click here to download our FREE Artist Resource, MentorMe.

The post How Do You Market Your Art to Gain Recognition From Galleries & Collectors? appeared first on Beautiful Bizarre Magazine.