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"bio": "Bean Gilsdorf is an artist and freelance writer. She has been writing exhibition reviews, articles, and interviews for print and internet publications since 2007. Her work has been published in \u003ci>Textile: the Journal of Cloth and Culture\u003c/i>, \u003ci>Fiberarts Magazine\u003c/i> (2007-2011), and \u003ci>Surface Design Journal\u003c/i>, and she is a frequent contributor to the online contemporary art publications \u003ca href=\"http://www.artpractical.com/\">\u003ci>Art Practical\u003c/i>\u003c/a> and \u003ca href=\"http://dailyserving.com/\">\u003ci>Daily Serving\u003c/i>\u003c/a>.Gilsdorf's collages, textiles, and installations have been exhibited across the United States and in Italy, England, China, South Africa and Poland. In 2011, Gilsdorf received her MFA from the California College of the Arts. She lives in San Francisco and is a 2011-2012 Graduate Fellow at the Headlands Center for the Arts.",
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"content": "\u003cp>\u003ci> HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. All submissions are confidential and become the property of Daily Serving. On twitter: @ArtHelpDesk\u003c/i>\u003c/p>\n\u003cp>***NEW & IMPROVED*** Now you can reliably submit your questions 100% anonymously. Follow this link to our submission form: http://bit.ly/132VchD\u003c/p>\n\u003cp>\u003cb>An art critic who writes for a local newspaper recently approached me. He wants to review a recent show I installed at a local gallery. He is essentially asking me to provide him with my thoughts on my work and, after reading several of his articles, it seems as if he will just quote me at length rather than provide an actual review of my work. On one hand this appears to be an opportunity to put forth some of my own ideas (however small), but on the other it seems it will be a watered down version of a review that serves more to fill a column than actually respond critically to a body of work. Should I indulge him in my eagerness to gain press attention or decline in hopes of a future proposal from a more attentive critic? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I applaud your sincerity and rectitude, but in this case they are somewhat misdirected. Understandably, you’d like your show to be reviewed by someone who will take the time to get to know the work and write up his or her own analysis and interpretation. Knowing that you’re not going to get it is a bit discouraging, but one could easily grow old and die while waiting for a “more attentive critic.” I don’t want you to second-guess your values but when opportunity knocks, open the damn door. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What you’ve got to keep in mind is that your own integrity is not at stake. The best you can do is work hard to make something you believe in. You’ve made the art and sent it out into the world with some background information to accompany it on its way. You’re not responsible for what other people do with that information. A local journalist who lacks imagination or initiative is not under your control. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/17/FrancescoVezzoli1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Francesco Vezzoli, \u003ci>installation view of Olga Forever! The Olga Picasso Family Album\u003c/i>, 2013.\u003c/p>\n\u003cp>Sometimes when you’re in a quandary it helps to do some thought experiments. Imagine a critic who always pans the work that she reviews. Would you give her the same information about your show, knowing that she might use it to underscore her various arguments about how and why your work sucks? I suspect you would, because you’d at least have the consolation that she was spending time with the work and paying attention. Now let’s try another scenario: Would it make a difference to you if the reason this critic quotes at length from the artist is because he doesn’t trust his own evaluation of artwork? What if, instead of being lazy (and perhaps somewhat disingenuous), he is simply insecure and fearful? And lastly, even though he has a record of quoting at length, can you be absolutely sure he will do the same in this instance? People do change, and we can hope that perhaps he will start with you. \u003c/p>\n\u003cp>Please don’t think I’m unsympathetic. There’s a well-known “critic” in my town who copies verbatim from press releases, which I discovered when I received a press release from a local gallery and then saw the same wording appear three days later in one of his “reviews.” Thinking that I must be mistaken, I compared the two side by side. As you might guess, they were practically identical and I spent the next few days nursing a sludgy emotional mix of dismay and contempt. It’s disappointing to find that some of the people we entrust with the power to publicly consider and evaluate artwork are, in one way or another, just not doing their jobs. \u003c/p>\n\u003cp>If you’re in this for the long haul, you’ll get your share of press, and other problems will arise. Someone will spell your name wrong, or misquote you, or fail to apprehend what you feel is the most important aspect of your work. In all cases, you should politely correct what you can and then just move on. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s something of a gross generalization to say this, but on the whole I believe we artists work hard. We want our artwork to be greeted with the same energy it took to make it. We want the work to be evaluated fairly and intelligently, on its own terms, and preferably both in print and online by a well-known critic who has a healthy share of Twitter followers — joking! (sort of). But if you wait for that perfect day it might never come. It’s okay for you to give this journalist some background information, even if it is carefully crafted to showcase your work in the best possible light. You’re also free to encourage this journalist to write more about his own take on the show (“I’d love to hear your reaction to the work and I look forward to reading your opinions” or something similar). Eventually this review will become just another line on your CV, and hopefully you’ll have moved on to a more interesting conversation about your work. Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci> HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. All submissions are confidential and become the property of Daily Serving. On twitter: @ArtHelpDesk\u003c/i>\u003c/p>\n\u003cp>***NEW & IMPROVED*** Now you can reliably submit your questions 100% anonymously. Follow this link to our submission form: http://bit.ly/132VchD\u003c/p>\n\u003cp>\u003cb>An art critic who writes for a local newspaper recently approached me. He wants to review a recent show I installed at a local gallery. He is essentially asking me to provide him with my thoughts on my work and, after reading several of his articles, it seems as if he will just quote me at length rather than provide an actual review of my work. On one hand this appears to be an opportunity to put forth some of my own ideas (however small), but on the other it seems it will be a watered down version of a review that serves more to fill a column than actually respond critically to a body of work. Should I indulge him in my eagerness to gain press attention or decline in hopes of a future proposal from a more attentive critic? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I applaud your sincerity and rectitude, but in this case they are somewhat misdirected. Understandably, you’d like your show to be reviewed by someone who will take the time to get to know the work and write up his or her own analysis and interpretation. Knowing that you’re not going to get it is a bit discouraging, but one could easily grow old and die while waiting for a “more attentive critic.” I don’t want you to second-guess your values but when opportunity knocks, open the damn door. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What you’ve got to keep in mind is that your own integrity is not at stake. The best you can do is work hard to make something you believe in. You’ve made the art and sent it out into the world with some background information to accompany it on its way. You’re not responsible for what other people do with that information. A local journalist who lacks imagination or initiative is not under your control. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/17/FrancescoVezzoli1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Francesco Vezzoli, \u003ci>installation view of Olga Forever! The Olga Picasso Family Album\u003c/i>, 2013.\u003c/p>\n\u003cp>Sometimes when you’re in a quandary it helps to do some thought experiments. Imagine a critic who always pans the work that she reviews. Would you give her the same information about your show, knowing that she might use it to underscore her various arguments about how and why your work sucks? I suspect you would, because you’d at least have the consolation that she was spending time with the work and paying attention. Now let’s try another scenario: Would it make a difference to you if the reason this critic quotes at length from the artist is because he doesn’t trust his own evaluation of artwork? What if, instead of being lazy (and perhaps somewhat disingenuous), he is simply insecure and fearful? And lastly, even though he has a record of quoting at length, can you be absolutely sure he will do the same in this instance? People do change, and we can hope that perhaps he will start with you. \u003c/p>\n\u003cp>Please don’t think I’m unsympathetic. There’s a well-known “critic” in my town who copies verbatim from press releases, which I discovered when I received a press release from a local gallery and then saw the same wording appear three days later in one of his “reviews.” Thinking that I must be mistaken, I compared the two side by side. As you might guess, they were practically identical and I spent the next few days nursing a sludgy emotional mix of dismay and contempt. It’s disappointing to find that some of the people we entrust with the power to publicly consider and evaluate artwork are, in one way or another, just not doing their jobs. \u003c/p>\n\u003cp>If you’re in this for the long haul, you’ll get your share of press, and other problems will arise. Someone will spell your name wrong, or misquote you, or fail to apprehend what you feel is the most important aspect of your work. In all cases, you should politely correct what you can and then just move on. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s something of a gross generalization to say this, but on the whole I believe we artists work hard. We want our artwork to be greeted with the same energy it took to make it. We want the work to be evaluated fairly and intelligently, on its own terms, and preferably both in print and online by a well-known critic who has a healthy share of Twitter followers — joking! (sort of). But if you wait for that perfect day it might never come. It’s okay for you to give this journalist some background information, even if it is carefully crafted to showcase your work in the best possible light. You’re also free to encourage this journalist to write more about his own take on the show (“I’d love to hear your reaction to the work and I look forward to reading your opinions” or something similar). Eventually this review will become just another line on your CV, and hopefully you’ll have moved on to a more interesting conversation about your work. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Idea to Product to Success: An Interview with SF's Yellow Owl Workshop",
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"content": "\u003cp>I have been running my business, \u003ca href=\"http://www.littlepaperplanes.com\">Little Paper Planes\u003c/a>, for 9 years. During that period, I have worked with production and distribution in some capacity, as well as manufacturing a clothing line, \u003ca href=\"https://www.youtube.com/watch?v=9vPu-IaaJSE\">Augustine\u003c/a>, from 2005-2007 in Los Angeles. I am interested in talking to other people who have channeled their creativity into the development of different kinds of businesses in various industries, both wholesale and retail. To that end, I got in touch with Christine Schmidt and Evan Gross, the married couple who started \u003ca href=\"http://www.yellowowlworkshop.com/\">Yellow Owl Workshop\u003c/a>, a San Francisco-based purveyor of hand-printed cards and gifts. What follows is an interview with Christine and Evan.\u003c/p>\n\u003cp>\u003cb>How many people are involved in the business? Owners? Employees?\u003c/b>\u003c/p>\n\u003cp>The two of us (Christine & Evan) are the owners, and we have one full time studio manager who oversees the day-to-day. We then have a fluctuating number of part-time folks who are the unsung heroes, assembling and packaging everything.\u003c/p>\n\u003cp>\u003cb>When I started my business, it was to create an online platform for me and my friends to sell the various art ephemera we were making. At the time — in 2004 — there wasn’t \u003ca href=\"http://www.etsy.com/\">Etsy\u003c/a> or really anything like that online. Why did you start your business?\u003c/b>\u003c/p>\n\u003cp>Christine started this almost five years ago as an outlet for her creativity; it was just meant to be a creative space for her to experiment with different ideas and techniques that she had learned over the years of her art training. She put some of her designs out on the web, and as folks started inquiring about custom wedding invitations or wholesale, she and I realized that this could become a real business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/yowchristine.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Christine Schmidt; photo by Ana Homonnay.\u003c/p>\n\u003cp>\u003cb>Did you start with any sort of financial investment? Saving? Money from family? Loans or credit cards?\u003c/b>\u003c/p>\n\u003cp>Evan had a full-time job and we actually managed to find a somewhat affordable place to live in the city, so Christine was able to develop her work and the business for awhile without generating much income. There wasn’t a real need for financing because Christine taught herself basic web development and built her own (somewhat janky) website, and because the early focus of the work was on handmade paper products, all it took was about $1,000 for a few screen printing screens, a used wash out booth, and a power washer. As the business started to make a little money (at first, mostly from custom wedding invitations) we were able to use that income to buy more equipment (like our drying rack), hire a professional to help with the website, and also expand into other manufactured products — like the rubber stamps.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/yowstamps1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Yellow Owl stamp selection; photo by Ana Homonnay.\u003c/p>\n\u003cp>\u003cb>In the beginning, did you do everything step by step before jumping in? Did you register your business, get the resale license, get insurance, etc.? How did you decide what kind of entity you would be? Or did you start working on the actual products and as it started taking off decide to get serious with the business? For someone just starting out, would you suggest getting all the legal business stuff in order before working on the product development?\u003c/b>\u003c/p>\n\u003cp>Once the website was up and people started to express interest, Christine did all the research on how to start the business and took care of all the registrations and what not. Because there was no real income at first, and because the focus was on paper products, we just set it up as a sole proprietorship at first. No need to spend the time and money on all the legal work until you really need to! A lot of it happened pretty organically — we would be lying if we said we had any of this planned ahead of time. As the business grew, and as more opportunities came up, we would assess what changes needed to be made and then eventually make them. Of course, some took longer than others, because one thing about being a small business is that YOU NEVER HAVE TIME FOR ANYTHING. There’s always something more you could be doing. And on top of that, all the legal/technical stuff is so boring that you often find yourself pushing it off as long as possible. We didn’t convert the company to a corporation until 3 years after the business started selling wholesale. So with all of that in mind, we would say that it’s probably okay to wait to do all the legal/business until after you’ve gotten your designs out there, but once the business starts to generate some real revenue, you should start that process sooner rather than later, because once you get busy, it’s hard to catch up!\u003c/p>\n\u003cp>\u003cb>How many pieces did you first start out with and when did you make the decision to start approaching stores? Or do you sell directly to your customers? Or both? If you do sell to stores, did you start out by emailing \u003ca href=\"http://en.wikipedia.org/wiki/Line_sheet\">line sheets\u003c/a> to select stores? Did you ever do consignment or just wholesale?\u003c/b>\u003c/p>\n\u003cp>Again, a lot of this happened organically. Yellow Owl Workshop was really more of a concept at first, and the idea of selling to stores didn’t really occur to Christine until stores started to contact her. At first, it was custom wedding invitations and personal stationery, and then selling some screen printed cards directly through our website. The first inquiry came from \u003ca href=\"http://www.reformschoolrules.com/\">Reform School\u003c/a> in L.A., which was the most awesomest thing ever both because it was amazing to get interest from a store and because those ladies are rad and have amazing taste. Then an inquiry came from \u003ca href=\"http://www.littleotsu.com/\">Little Otsu\u003c/a> here in San Francisco. When two incredibly cool stores like that show interest in your work, it is an encouraging sign that maybe this could appeal to others as well.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/yow2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>At that point Evan suggested that we apply for a booth at the \u003ca href=\"http://www.nationalstationeryshow.com/\">National Stationery Show\u003c/a>, because why not? It was expensive and time consuming, but since the business was still in its infancy at that point, we could afford to take the time to design a booth and get new products together. And we figured if it went well there, then it would mean this really could be a wholesale business. In preparation for the show, Evan researched shops across the country, and we put together an email and mailing list to send a promo mailer in advance. We got some orders just from those mailers, so after the show, Evan started emailing more shops with our website link and line sheets. He would do this unsolicited, but he was always very careful to only email stores where it looked like our products would be a good fit.\u003c/p>\n\u003cp>We think that it’s really important, especially when starting out, to do your research ahead of time and only send emails or information to shops that clearly fit with what you are offering. There’s a temptation to cast as wide a net as possible, and just try to get your goods out to anyone and everyone as fast as you can, but in our opinion it’s much better to focus on the stores that fit with your aesthetic because that is where your products will do best. There is nothing more depressing in this business than getting an exciting new account and then never hearing from them again because your goods just didn’t sell well for them. It’s cliche to say, but it’s all about quality, not quantity!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/YOW1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>As for consignment, early on we would agree to it for a few shops that we really thought were a good fit (\u003ca href=\"http://chicago.racked.com/archives/2012/01/06/renegade-handmade-closes-after-4-years-of-growth.php\">Renegade Handmade\u003c/a> in Chicago, \u003ca href=\"http://paperboatmilwaukee.blogspot.com/\">Paper Boat Boutique\u003c/a> in Milwaukee) and we think it’s a useful option when starting out, but at some point it just becomes too hard to manage and more trouble than it’s worth. We found that for shops that relied mostly on consignment, if they wanted our products strongly enough, they would agree to just buy them outright anyway.\u003c/p>\n\u003cp>\u003cb>When I had a clothing line, I came into some trouble with stores not paying us or bouncing checks. Did you ever have problems like that and if so, how did you resolve them and change the way you did business?\u003c/b> \u003c/p>\n\u003cp>It’s a constant problem, and probably the worst part about this business. A lot of shops insist on only paying on Net 30 credit terms (meaning they pay 30 days after their order is received), so you have to be willing to agree to that in order to get their business. Most shops are really good about paying on time, but there are definitely a handful that don’t pay unless you hassle them multiple times. Most of the time it’s just because they, like us, are small business owners and are just really busy, but sometimes it’s because they don’t have the cash flow — and that’s when things get scary! Luckily we have only had two shops go out of business while they still owed us money, which really is lucky considering that the entire lifetime of this business has been during the recession! The best way to protect yourself is to push for credit card payment up front whenever you can, and if that doesn’t work, check their credit references. And for shops that don’t pay you on time, the next time they try to order, you have to just insist that they pay you up front.\u003c/p>\n\u003cp>\u003cb>Since most production happens months before a customer pays for the shipment, how have you dealt with paying up front for all the materials and labor and waiting for payment? For me, when I could, I paid by credit card for materials and then saved money from the last payment for labor. It was always such a delicate process and can be super stressful.\u003c/b>\u003c/p>\n\u003cp>It was less of a challenge at first when Christine was focused mostly on paper goods, and was screen printing them by hand. But as the product line grew to rubber stamps and pendants, there was definitely a little dance we’d have to do every time we’d have a new product. One of the things that we just decided early on is that whenever we have a new product, no matter how confident we are that it will sell, we do the minimum amount possible for the first production run, and get samples out to places as early on as possible — and hopefully that way you have some orders already placed before the production is even complete. Then in theory you can see whether there is a big enough interest to do another, larger run, and you have some money in your pocket to pay for it.\u003c/p>\n\u003cp>\u003cb>Do you have a rep? If so, do you find that is a good way to go as the business grows?\u003c/b>\u003c/p>\n\u003cp>Well, I think this could be a whole blog post topic on its own! There’s no way to answer this question in a short space. We do have some reps, but we also operate without reps in certain parts of the country. Having a rep is definitely a great way to get exposure and new accounts when you are just starting out, though we would caution against being too quick to start working with one. Before you start, you have to make sure you are ready to produce on a larger scale, because otherwise you can really lose a lot of good will if you can’t deliver on orders. We’ve heard many a horror story (and have had a few of our own) where a line got too much attention too soon, and just totally failed to deliver on the orders placed. There definitely is such a thing as growing too fast for your own good. So we would suggest waiting until you know you can handle higher quantity orders before signing up with a rep. On the flip side, having reps can get expensive — there is the commission plus showroom fees, etc. Plus it’s really nice to have direct relationships with buyers, something you can’t do as much when you have reps. So I guess — as with anything in this crazy business — there are pluses and minuses to having a rep. How’s that for an answer?\u003c/p>\n\u003cp>\u003cb>How do you feel about trade shows? Do you think they are a good investment?\u003c/b>\u003c/p>\n\u003cp>Yes. Absolutely. A necessary evil. We originally thought trade shows were an antiquated idea — I mean, can’t you find everything you need just on the Internet? But after doing a number of gift shows over the last few years, we have learned that a lot of buyers still love to see everything in person, and in the context of a larger display. It’s absolutely the #1 way to get exposure and grow your business, as sad as that is to say.\u003c/p>\n\u003cp>\u003cb>How have you found your materials? Did you find sourcing difficult?\u003c/b>\u003c/p>\n\u003cp>When designing new products, Christine probably spends about half her time sourcing. It’s a lot of research and trial and error. Once you find a few people you can trust though, they often can recommend others that they know for other types of materials. But it’s very, very challenging to find good, reliable, and cheap sources, especially when you are focused on getting everything made in the U.S. Sadly, it’s extremely difficult to find manufacturers for certain raw materials here in the U.S., and even when you do, the price and/or quality is often an issue. A lot of times for new products, Christine will have the design done months before we can introduce it, because it takes us that long to find the right supplier for materials. It’s a constant struggle. At the same time, when you do find someone great (and they are out there), it’s like the best feeling in the world. Especially when it’s a fellow local small business. One of the best things about Yellow Owl is that it’s brought a lot of business to local printers, box makers, ink pad manufacturers, etc. It’s really exciting to know that your business helps support other local businesses.\u003c/p>\n\u003cp>\u003cb>Are you making everything yourself or do have people who help with production? If you do have people who help, when did you make that decision to hire?\u003c/b>\u003c/p>\n\u003cp>For far too long, we were doing everything ourselves. That was one of those decisions we mentioned earlier where we waited and waited, to our own detriment, before acting. It’s such a hard decision to make — can we afford an employee? How do we even do it? Where do we look? What do we pay them? So stressful! So for far too long we would both be sitting on our couch late at night watching TV while making stamps and packaging cards. Fun times. We finally had enough, and started asking some friends to help out when we were desperate. That was our way of sort of avoiding the real decision to hire someone.\u003c/p>\n\u003cp>Eventually it became obvious that that was not going to work, mostly because we couldn’t rely on our friends to always be available when we needed them and we would still end up back on the couch making stamps late at night. We decided to take the leap and hire someone part time. As we started to see that the costs were not too bad, and that the business could support it, we added people as needed. Once you hire that first person, the decision to hire more becomes a lot less daunting. The biggest problem we have is the ebb and flow of the business — there are a few times of year where we are busier than others, so our biggest challenge has been finding the right balance so that we don’t have to let people go. It’s always something on our minds, unfortunately.\u003c/p>\n\u003cp>\u003cb>How do deal with copyright issues or people doing the same thing as you? Or is this ever something you have to deal with? \u003c/b>\u003c/p>\n\u003cp>There are always going to be people who see your work and appropriate it for themselves. There’s nothing you can really do about it. Christine’s attitude is that, while those people are apeing her ideas, she’s already moved on to new ideas. You can’t fake originality. In the end, they lose anyway, so why let it get to you?\u003c/p>\n\u003cp>\u003cb>How do you keep everything organized monthly? I assume you have orders from a variety of different clients, stores and customers. How did you figure out a schedule to make sure everything happens in a timely manner?\u003c/b>\u003c/p>\n\u003cp>We now have our operations manager who keeps track of all of the store orders using a Google calendar. She’s extremely organized. We wouldn’t know what to do without her. Evan used to have a system of post it notes, but then the post it notes would have post it notes, and things got ridiculous. Honestly, the way Christine keeps things organized now is just by not taking on too much stuff! Really learning to say no to things has been a huge organizational tool, as weird as that might sound.\u003c/p>\n\u003cp>\u003cb>Lastly, how do you find balance with work and life? All my passions, business and life merge in many ways, so I sometimes find it difficult to negotiate time away from the business. I also found that creating set hours for working was super helpful. If you can give any insight on how you have found balance or are attempting to find it, that would be great. \u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>We were hoping you could give US some insight! Lord only knows how to find balance. It’s a never ending battle. This last year we had our first little kiddo, a funny little bug named Emmy. She has been the best thing that has ever happened to us, and has by sheer force of will tipped the scales for us in favor of life over work. Before Emmy arrived, it was tough, especially because we are married. So there was no escape from work, and we’d often find ourselves talking about work stuff during dinner or late at night. Not good! But now with Emmy, all work talk ends at 5pm no matter what. So I guess our advice is: have a kid? For those of you who don’t feel like being that extreme, our best advice would be to learn to say no to things. If you can get comfortable saying no to wedding invitation inquiries or custom job requests, it will go a long way towards balancing the scale. To learn to say no, you first have to acknowledge that the world will NOT end if you turn a job down. We promise.\u003c/p>\n\n",
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"excerpt": "Talking shop with Christine Schmidt and Evan Gross, the married couple who started Yellow Owl Workshop, a San Francisco purveyor of hand-printed cards and gifts.",
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"description": "Talking shop with Christine Schmidt and Evan Gross, the married couple who started Yellow Owl Workshop, a San Francisco purveyor of hand-printed cards and gifts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have been running my business, \u003ca href=\"http://www.littlepaperplanes.com\">Little Paper Planes\u003c/a>, for 9 years. During that period, I have worked with production and distribution in some capacity, as well as manufacturing a clothing line, \u003ca href=\"https://www.youtube.com/watch?v=9vPu-IaaJSE\">Augustine\u003c/a>, from 2005-2007 in Los Angeles. I am interested in talking to other people who have channeled their creativity into the development of different kinds of businesses in various industries, both wholesale and retail. To that end, I got in touch with Christine Schmidt and Evan Gross, the married couple who started \u003ca href=\"http://www.yellowowlworkshop.com/\">Yellow Owl Workshop\u003c/a>, a San Francisco-based purveyor of hand-printed cards and gifts. What follows is an interview with Christine and Evan.\u003c/p>\n\u003cp>\u003cb>How many people are involved in the business? Owners? Employees?\u003c/b>\u003c/p>\n\u003cp>The two of us (Christine & Evan) are the owners, and we have one full time studio manager who oversees the day-to-day. We then have a fluctuating number of part-time folks who are the unsung heroes, assembling and packaging everything.\u003c/p>\n\u003cp>\u003cb>When I started my business, it was to create an online platform for me and my friends to sell the various art ephemera we were making. At the time — in 2004 — there wasn’t \u003ca href=\"http://www.etsy.com/\">Etsy\u003c/a> or really anything like that online. Why did you start your business?\u003c/b>\u003c/p>\n\u003cp>Christine started this almost five years ago as an outlet for her creativity; it was just meant to be a creative space for her to experiment with different ideas and techniques that she had learned over the years of her art training. She put some of her designs out on the web, and as folks started inquiring about custom wedding invitations or wholesale, she and I realized that this could become a real business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/yowchristine.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Christine Schmidt; photo by Ana Homonnay.\u003c/p>\n\u003cp>\u003cb>Did you start with any sort of financial investment? Saving? Money from family? Loans or credit cards?\u003c/b>\u003c/p>\n\u003cp>Evan had a full-time job and we actually managed to find a somewhat affordable place to live in the city, so Christine was able to develop her work and the business for awhile without generating much income. There wasn’t a real need for financing because Christine taught herself basic web development and built her own (somewhat janky) website, and because the early focus of the work was on handmade paper products, all it took was about $1,000 for a few screen printing screens, a used wash out booth, and a power washer. As the business started to make a little money (at first, mostly from custom wedding invitations) we were able to use that income to buy more equipment (like our drying rack), hire a professional to help with the website, and also expand into other manufactured products — like the rubber stamps.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/yowstamps1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Yellow Owl stamp selection; photo by Ana Homonnay.\u003c/p>\n\u003cp>\u003cb>In the beginning, did you do everything step by step before jumping in? Did you register your business, get the resale license, get insurance, etc.? How did you decide what kind of entity you would be? Or did you start working on the actual products and as it started taking off decide to get serious with the business? For someone just starting out, would you suggest getting all the legal business stuff in order before working on the product development?\u003c/b>\u003c/p>\n\u003cp>Once the website was up and people started to express interest, Christine did all the research on how to start the business and took care of all the registrations and what not. Because there was no real income at first, and because the focus was on paper products, we just set it up as a sole proprietorship at first. No need to spend the time and money on all the legal work until you really need to! A lot of it happened pretty organically — we would be lying if we said we had any of this planned ahead of time. As the business grew, and as more opportunities came up, we would assess what changes needed to be made and then eventually make them. Of course, some took longer than others, because one thing about being a small business is that YOU NEVER HAVE TIME FOR ANYTHING. There’s always something more you could be doing. And on top of that, all the legal/technical stuff is so boring that you often find yourself pushing it off as long as possible. We didn’t convert the company to a corporation until 3 years after the business started selling wholesale. So with all of that in mind, we would say that it’s probably okay to wait to do all the legal/business until after you’ve gotten your designs out there, but once the business starts to generate some real revenue, you should start that process sooner rather than later, because once you get busy, it’s hard to catch up!\u003c/p>\n\u003cp>\u003cb>How many pieces did you first start out with and when did you make the decision to start approaching stores? Or do you sell directly to your customers? Or both? If you do sell to stores, did you start out by emailing \u003ca href=\"http://en.wikipedia.org/wiki/Line_sheet\">line sheets\u003c/a> to select stores? Did you ever do consignment or just wholesale?\u003c/b>\u003c/p>\n\u003cp>Again, a lot of this happened organically. Yellow Owl Workshop was really more of a concept at first, and the idea of selling to stores didn’t really occur to Christine until stores started to contact her. At first, it was custom wedding invitations and personal stationery, and then selling some screen printed cards directly through our website. The first inquiry came from \u003ca href=\"http://www.reformschoolrules.com/\">Reform School\u003c/a> in L.A., which was the most awesomest thing ever both because it was amazing to get interest from a store and because those ladies are rad and have amazing taste. Then an inquiry came from \u003ca href=\"http://www.littleotsu.com/\">Little Otsu\u003c/a> here in San Francisco. When two incredibly cool stores like that show interest in your work, it is an encouraging sign that maybe this could appeal to others as well.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/yow2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>At that point Evan suggested that we apply for a booth at the \u003ca href=\"http://www.nationalstationeryshow.com/\">National Stationery Show\u003c/a>, because why not? It was expensive and time consuming, but since the business was still in its infancy at that point, we could afford to take the time to design a booth and get new products together. And we figured if it went well there, then it would mean this really could be a wholesale business. In preparation for the show, Evan researched shops across the country, and we put together an email and mailing list to send a promo mailer in advance. We got some orders just from those mailers, so after the show, Evan started emailing more shops with our website link and line sheets. He would do this unsolicited, but he was always very careful to only email stores where it looked like our products would be a good fit.\u003c/p>\n\u003cp>We think that it’s really important, especially when starting out, to do your research ahead of time and only send emails or information to shops that clearly fit with what you are offering. There’s a temptation to cast as wide a net as possible, and just try to get your goods out to anyone and everyone as fast as you can, but in our opinion it’s much better to focus on the stores that fit with your aesthetic because that is where your products will do best. There is nothing more depressing in this business than getting an exciting new account and then never hearing from them again because your goods just didn’t sell well for them. It’s cliche to say, but it’s all about quality, not quantity!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/13/YOW1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>As for consignment, early on we would agree to it for a few shops that we really thought were a good fit (\u003ca href=\"http://chicago.racked.com/archives/2012/01/06/renegade-handmade-closes-after-4-years-of-growth.php\">Renegade Handmade\u003c/a> in Chicago, \u003ca href=\"http://paperboatmilwaukee.blogspot.com/\">Paper Boat Boutique\u003c/a> in Milwaukee) and we think it’s a useful option when starting out, but at some point it just becomes too hard to manage and more trouble than it’s worth. We found that for shops that relied mostly on consignment, if they wanted our products strongly enough, they would agree to just buy them outright anyway.\u003c/p>\n\u003cp>\u003cb>When I had a clothing line, I came into some trouble with stores not paying us or bouncing checks. Did you ever have problems like that and if so, how did you resolve them and change the way you did business?\u003c/b> \u003c/p>\n\u003cp>It’s a constant problem, and probably the worst part about this business. A lot of shops insist on only paying on Net 30 credit terms (meaning they pay 30 days after their order is received), so you have to be willing to agree to that in order to get their business. Most shops are really good about paying on time, but there are definitely a handful that don’t pay unless you hassle them multiple times. Most of the time it’s just because they, like us, are small business owners and are just really busy, but sometimes it’s because they don’t have the cash flow — and that’s when things get scary! Luckily we have only had two shops go out of business while they still owed us money, which really is lucky considering that the entire lifetime of this business has been during the recession! The best way to protect yourself is to push for credit card payment up front whenever you can, and if that doesn’t work, check their credit references. And for shops that don’t pay you on time, the next time they try to order, you have to just insist that they pay you up front.\u003c/p>\n\u003cp>\u003cb>Since most production happens months before a customer pays for the shipment, how have you dealt with paying up front for all the materials and labor and waiting for payment? For me, when I could, I paid by credit card for materials and then saved money from the last payment for labor. It was always such a delicate process and can be super stressful.\u003c/b>\u003c/p>\n\u003cp>It was less of a challenge at first when Christine was focused mostly on paper goods, and was screen printing them by hand. But as the product line grew to rubber stamps and pendants, there was definitely a little dance we’d have to do every time we’d have a new product. One of the things that we just decided early on is that whenever we have a new product, no matter how confident we are that it will sell, we do the minimum amount possible for the first production run, and get samples out to places as early on as possible — and hopefully that way you have some orders already placed before the production is even complete. Then in theory you can see whether there is a big enough interest to do another, larger run, and you have some money in your pocket to pay for it.\u003c/p>\n\u003cp>\u003cb>Do you have a rep? If so, do you find that is a good way to go as the business grows?\u003c/b>\u003c/p>\n\u003cp>Well, I think this could be a whole blog post topic on its own! There’s no way to answer this question in a short space. We do have some reps, but we also operate without reps in certain parts of the country. Having a rep is definitely a great way to get exposure and new accounts when you are just starting out, though we would caution against being too quick to start working with one. Before you start, you have to make sure you are ready to produce on a larger scale, because otherwise you can really lose a lot of good will if you can’t deliver on orders. We’ve heard many a horror story (and have had a few of our own) where a line got too much attention too soon, and just totally failed to deliver on the orders placed. There definitely is such a thing as growing too fast for your own good. So we would suggest waiting until you know you can handle higher quantity orders before signing up with a rep. On the flip side, having reps can get expensive — there is the commission plus showroom fees, etc. Plus it’s really nice to have direct relationships with buyers, something you can’t do as much when you have reps. So I guess — as with anything in this crazy business — there are pluses and minuses to having a rep. How’s that for an answer?\u003c/p>\n\u003cp>\u003cb>How do you feel about trade shows? Do you think they are a good investment?\u003c/b>\u003c/p>\n\u003cp>Yes. Absolutely. A necessary evil. We originally thought trade shows were an antiquated idea — I mean, can’t you find everything you need just on the Internet? But after doing a number of gift shows over the last few years, we have learned that a lot of buyers still love to see everything in person, and in the context of a larger display. It’s absolutely the #1 way to get exposure and grow your business, as sad as that is to say.\u003c/p>\n\u003cp>\u003cb>How have you found your materials? Did you find sourcing difficult?\u003c/b>\u003c/p>\n\u003cp>When designing new products, Christine probably spends about half her time sourcing. It’s a lot of research and trial and error. Once you find a few people you can trust though, they often can recommend others that they know for other types of materials. But it’s very, very challenging to find good, reliable, and cheap sources, especially when you are focused on getting everything made in the U.S. Sadly, it’s extremely difficult to find manufacturers for certain raw materials here in the U.S., and even when you do, the price and/or quality is often an issue. A lot of times for new products, Christine will have the design done months before we can introduce it, because it takes us that long to find the right supplier for materials. It’s a constant struggle. At the same time, when you do find someone great (and they are out there), it’s like the best feeling in the world. Especially when it’s a fellow local small business. One of the best things about Yellow Owl is that it’s brought a lot of business to local printers, box makers, ink pad manufacturers, etc. It’s really exciting to know that your business helps support other local businesses.\u003c/p>\n\u003cp>\u003cb>Are you making everything yourself or do have people who help with production? If you do have people who help, when did you make that decision to hire?\u003c/b>\u003c/p>\n\u003cp>For far too long, we were doing everything ourselves. That was one of those decisions we mentioned earlier where we waited and waited, to our own detriment, before acting. It’s such a hard decision to make — can we afford an employee? How do we even do it? Where do we look? What do we pay them? So stressful! So for far too long we would both be sitting on our couch late at night watching TV while making stamps and packaging cards. Fun times. We finally had enough, and started asking some friends to help out when we were desperate. That was our way of sort of avoiding the real decision to hire someone.\u003c/p>\n\u003cp>Eventually it became obvious that that was not going to work, mostly because we couldn’t rely on our friends to always be available when we needed them and we would still end up back on the couch making stamps late at night. We decided to take the leap and hire someone part time. As we started to see that the costs were not too bad, and that the business could support it, we added people as needed. Once you hire that first person, the decision to hire more becomes a lot less daunting. The biggest problem we have is the ebb and flow of the business — there are a few times of year where we are busier than others, so our biggest challenge has been finding the right balance so that we don’t have to let people go. It’s always something on our minds, unfortunately.\u003c/p>\n\u003cp>\u003cb>How do deal with copyright issues or people doing the same thing as you? Or is this ever something you have to deal with? \u003c/b>\u003c/p>\n\u003cp>There are always going to be people who see your work and appropriate it for themselves. There’s nothing you can really do about it. Christine’s attitude is that, while those people are apeing her ideas, she’s already moved on to new ideas. You can’t fake originality. In the end, they lose anyway, so why let it get to you?\u003c/p>\n\u003cp>\u003cb>How do you keep everything organized monthly? I assume you have orders from a variety of different clients, stores and customers. How did you figure out a schedule to make sure everything happens in a timely manner?\u003c/b>\u003c/p>\n\u003cp>We now have our operations manager who keeps track of all of the store orders using a Google calendar. She’s extremely organized. We wouldn’t know what to do without her. Evan used to have a system of post it notes, but then the post it notes would have post it notes, and things got ridiculous. Honestly, the way Christine keeps things organized now is just by not taking on too much stuff! Really learning to say no to things has been a huge organizational tool, as weird as that might sound.\u003c/p>\n\u003cp>\u003cb>Lastly, how do you find balance with work and life? All my passions, business and life merge in many ways, so I sometimes find it difficult to negotiate time away from the business. I also found that creating set hours for working was super helpful. If you can give any insight on how you have found balance or are attempting to find it, that would be great. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We were hoping you could give US some insight! Lord only knows how to find balance. It’s a never ending battle. This last year we had our first little kiddo, a funny little bug named Emmy. She has been the best thing that has ever happened to us, and has by sheer force of will tipped the scales for us in favor of life over work. Before Emmy arrived, it was tough, especially because we are married. So there was no escape from work, and we’d often find ourselves talking about work stuff during dinner or late at night. Not good! But now with Emmy, all work talk ends at 5pm no matter what. So I guess our advice is: have a kid? For those of you who don’t feel like being that extreme, our best advice would be to learn to say no to things. If you can get comfortable saying no to wedding invitation inquiries or custom job requests, it will go a long way towards balancing the scale. To learn to say no, you first have to acknowledge that the world will NOT end if you turn a job down. We promise.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After two years of elaborate logistics and private fundraising, New York-based artist Leo Villareal’s \u003ci>The Bay Lights\u003c/i>, a site-specific light installation on the western span of the San Francisco-Oakland Bay Bridge, will be lit on March 5, 2013. The work will be visible as a kinetic light display every evening from dusk to midnight for the next two years. It promises the world’s largest light sculpture at nearly two miles wide and 500 feet high; it consists of 25,000 individually programmed white LED lights. Despite its scale, the project is designed to be unobtrusive to drivers on the bridge. There is no doubt it will instigate a wide reaching dialog on the value of art in a way the Bay Area has never seen before. Its sheer accessibility, visible from miles away, promises to outshine the best efforts of any institution within or beyond the city.\u003c/p>\n\u003cp>Leo Villareal is widely known for his light installations and architectural interventions. He recently created large-scale works for the National Gallery of Art in Washington D.C. and in Madison Square Park in New York. The notion to use the Bay Bridge as the framework for a grand artistic gesture was initially conceived by Bay Area artist Ben Davis, founder and owner of the San Francisco creative marketing agency Words Pictures Ideas. Once introduced to Villareal’s work by Zero1 curator Dorka Keehn, Davis became the driving force behind the project. The realization of \u003ci>The Bay Lights\u003c/i> is a testament to an admirable force of will, from the artist to the organizers to the fleet of personalities involved including representatives from city agencies, transit workers, engineers, programmers, electricians and more.\u003c/p>\n\u003cp>People will love it or hate it, to be sure. For the last several weeks, the public has been given previews of the project during test runs on select evenings. Unfavorable comparisons have already been made to the theatrical aquatics of Las Vegas casinos. Light pollution activists have voiced objections on the grounds that the project interferes with stargazing. Others grumble about the wealth of private resources directed at the project — $6 million of the $8 million fundraising goal has been reached — while still others find the project lacking in intellectual complexity.\u003c/p>\n\u003cp>But the fact that it promises to be contentious makes it seem more promising than any other grand gesture in recent memory. When everyone agrees, the subject is quickly changed. In this regard, perhaps \u003ci>The Bay Lights\u003c/i> offers more complexity than initial perceptions allow because it certainly does not promise a consensus. But it does make other huge promises, on par with its scale. The website asserts that more than 50 million people in the Bay Area will be impacted, with billions more seeing the project in the media and online. It also estimates that $97 million will be added to the local economy, presumably through hospitality and tourism revenue.\u003c/p>\n\u003cp>[vimeo 25870560 w=480 h=270]\u003c/p>\n\u003cp>Other recent multi-million dollar, large scale public art projects have made similar claims elsewhere. Mayor Bloomberg’s office estimated Olafur Eliasson’s \u003ci>The New York City Waterfalls\u003c/i> (2008), a series of public art installations staged in the city’s waterways, generated $55M in tourism revenue. Another project previously staged in Central Park, \u003ci>The Gates, Central Park, New York City\u003c/i> (1979-2005) by artists Christo and Jeanne Claude, is estimated to have generated $254 million in economic activity. Quantifying these claims is difficult, of course, but the suggestion of so much money flowing into the Bay Area is certainly compelling. The promise of monetary return concretizes the value of public art in ways that decision makers seem to understand, at least from the perspective of a spreadsheet. Each of the above projects lasted a fraction of the time \u003ci>The Bay Lights\u003c/i> will be up and running — \u003ci>The Gates\u003c/i> were only in place for fifteen days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Bay Lights\u003c/i> is negotiating a new category as a hybrid of semi-permanent sculpture and temporary spectacle. How it will sustain interest remains to be seen — people love to hate public art and then later people hate to see it removed from the landscape. \u003ci>The Bay Lights\u003c/i> promises a dynamic display, programmed to be different from one night to the next and from one vantage point to another. Detractors and supporters alike may change their minds over the course of the project, depending on what remains to be seen. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Bay Lights\u003c/i> will be lit March 5 and will run for two years, nightly from dusk to midnight. For \u003ca href=\"http://thebaylights.org/\">more information\u003c/a> visit thebaylights.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After two years of elaborate logistics and private fundraising, New York-based artist Leo Villareal’s \u003ci>The Bay Lights\u003c/i>, a site-specific light installation on the western span of the San Francisco-Oakland Bay Bridge, will be lit on March 5, 2013. The work will be visible as a kinetic light display every evening from dusk to midnight for the next two years. It promises the world’s largest light sculpture at nearly two miles wide and 500 feet high; it consists of 25,000 individually programmed white LED lights. Despite its scale, the project is designed to be unobtrusive to drivers on the bridge. There is no doubt it will instigate a wide reaching dialog on the value of art in a way the Bay Area has never seen before. Its sheer accessibility, visible from miles away, promises to outshine the best efforts of any institution within or beyond the city.\u003c/p>\n\u003cp>Leo Villareal is widely known for his light installations and architectural interventions. He recently created large-scale works for the National Gallery of Art in Washington D.C. and in Madison Square Park in New York. The notion to use the Bay Bridge as the framework for a grand artistic gesture was initially conceived by Bay Area artist Ben Davis, founder and owner of the San Francisco creative marketing agency Words Pictures Ideas. Once introduced to Villareal’s work by Zero1 curator Dorka Keehn, Davis became the driving force behind the project. The realization of \u003ci>The Bay Lights\u003c/i> is a testament to an admirable force of will, from the artist to the organizers to the fleet of personalities involved including representatives from city agencies, transit workers, engineers, programmers, electricians and more.\u003c/p>\n\u003cp>People will love it or hate it, to be sure. For the last several weeks, the public has been given previews of the project during test runs on select evenings. Unfavorable comparisons have already been made to the theatrical aquatics of Las Vegas casinos. Light pollution activists have voiced objections on the grounds that the project interferes with stargazing. Others grumble about the wealth of private resources directed at the project — $6 million of the $8 million fundraising goal has been reached — while still others find the project lacking in intellectual complexity.\u003c/p>\n\u003cp>But the fact that it promises to be contentious makes it seem more promising than any other grand gesture in recent memory. When everyone agrees, the subject is quickly changed. In this regard, perhaps \u003ci>The Bay Lights\u003c/i> offers more complexity than initial perceptions allow because it certainly does not promise a consensus. But it does make other huge promises, on par with its scale. The website asserts that more than 50 million people in the Bay Area will be impacted, with billions more seeing the project in the media and online. It also estimates that $97 million will be added to the local economy, presumably through hospitality and tourism revenue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, an international community of nearly 100 artists came together for POW WOW Hawai’i 2013 to cover the walls of the Kaka’ako neighborhood in Honolulu with arresting murals and graffiti. POW WOW, organized by artist Jasper Wong, is in its fourth year, and is growing bigger each year. I had the good fortune of being sent to Hawai’i to cover the event for \u003ci>Juxtapoz Magazine\u003c/i>, and wanted to take this opportunity to offer a rundown of Bay Area artists’ creations for POW WOW.\u003c/p>\n\u003cp>Mark Bodé is a boss when it comes to comics. Carrying on the legacy of his father, Vaughn Bodé, famous for his Cheech Wizard cartoon character, Mark painted a huge mural representing Hawaiian culture. Working with a team of assistants, his wall was located just outside of Fresh Cafe, an artist hub and headquarters for POW WOW. The Bodé family’s characters are prominent in contemporary art history, and young artists often borrow styles and characters from the Bodé oeuvre without even realizing it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/MarkBode.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Bodé\u003c/center>\n\u003cp>San Jose and San Francisco came together on one wall painted by Poesia (SJ) and APEX (SF), running the length of an entire city block. Working with colorful geometric patterns, these two worked on their wall up until the very last minute of POW WOW, and the results were striking. The building owner requested something abstract, and the artists worked together to create perfectly integrated rainbow patterns that represented both of their styles.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/Poesia2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Poesia\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/APEX.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>APEX\u003c/center>\n\u003cp>San Francisco illustrator Hannah Stouffer collaborated with Kamea Hadar from Hawai’i to create a lush graphic wall titled \u003ci>Physical Optics\u003c/i>. Like many of the collaborative works at POW WOW, it wasn’t easy to predict how two very different artists’ styles would mesh until their walls were complete. Part of the reason the collaborations were so well-coordinated was the fact that the artists spent a week living together in a big house, sketching, researching, and planning their projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/HannaStouffer.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Hannah Stouffer and Kamea Hadar\u003c/center>\n\u003cp>San Francisco’s Erik Otto painted a three-panel sunset in his signature style, which “captures the moment where beauty meets chaos.” Using both spray paint and house paint, Otto maintained his aesthetics while also representing the beautiful, magical sunsets that can be seen every day off the islands.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/ErikOtto.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Erik Otto\u003c/center>\n\u003cp>POW WOW is so named not only because of the definition of the term (a celebratory meeting) but also for its impact and the reactions it ignites. The “Pow” represents the visceral feeling of seeing murals around every corner in Kaka’ako–stunning displays of color and technical skill — and “Wow!” sums up the verbal reactions of onlookers. The beauty of this event is that the audience participates in the process, watching the walls come to life as each day passes. Next year’s POW WOW planning is already underway, so start booking your tropical art holiday now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See the finished murals and learn more about \u003ca href=\"www.powwowhawaii.com\">POW WOW Hawai’i 2013\u003c/a> at powwowhawaii.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, an international community of nearly 100 artists came together for POW WOW Hawai’i 2013 to cover the walls of the Kaka’ako neighborhood in Honolulu with arresting murals and graffiti. POW WOW, organized by artist Jasper Wong, is in its fourth year, and is growing bigger each year. I had the good fortune of being sent to Hawai’i to cover the event for \u003ci>Juxtapoz Magazine\u003c/i>, and wanted to take this opportunity to offer a rundown of Bay Area artists’ creations for POW WOW.\u003c/p>\n\u003cp>Mark Bodé is a boss when it comes to comics. Carrying on the legacy of his father, Vaughn Bodé, famous for his Cheech Wizard cartoon character, Mark painted a huge mural representing Hawaiian culture. Working with a team of assistants, his wall was located just outside of Fresh Cafe, an artist hub and headquarters for POW WOW. The Bodé family’s characters are prominent in contemporary art history, and young artists often borrow styles and characters from the Bodé oeuvre without even realizing it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/MarkBode.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Bodé\u003c/center>\n\u003cp>San Jose and San Francisco came together on one wall painted by Poesia (SJ) and APEX (SF), running the length of an entire city block. Working with colorful geometric patterns, these two worked on their wall up until the very last minute of POW WOW, and the results were striking. The building owner requested something abstract, and the artists worked together to create perfectly integrated rainbow patterns that represented both of their styles.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/Poesia2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Poesia\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/26/APEX.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>APEX\u003c/center>\n\u003cp>San Francisco illustrator Hannah Stouffer collaborated with Kamea Hadar from Hawai’i to create a lush graphic wall titled \u003ci>Physical Optics\u003c/i>. Like many of the collaborative works at POW WOW, it wasn’t easy to predict how two very different artists’ styles would mesh until their walls were complete. Part of the reason the collaborations were so well-coordinated was the fact that the artists spent a week living together in a big house, sketching, researching, and planning their projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003cb>Conversation\u003c/b> series at the San Francisco Arts Commission Gallery (SFAC) is an important objective of gallery director Meg Shiffler. The program, which pairs the work of a regional artist with an artist “based on another point on the globe,” creates a wider context for the work of local artists while providing exposure for international artists. A broad view of contemporary art practice is developed through this pairing.\u003c/p>\n\u003cp>The current iteration — the sixth in the series — also represents the final exhibition in the SFAC’s main gallery in the historic War Memorial Veteran’s Building. Following the exhibition, the gallery in this grand Beaux Arts building will close for a two-year seismic retrofitting and staff will begin planning for the next chapter in its history. When it reopens in July 2015, the SFAC main gallery will be inaugurated in a newly designed, multipurpose space. This installation of the \u003cb>Conversation\u003c/b> series features new work by Bay Area artist Jason Hanasik and Dutch artist Berndnaut Smilde. It explores themes of conclusion, transition and renewal at precisely the same moment in the gallery’s history.\u003c/p>\n\u003cp>One is confronted with Smilde’s work when crossing the threshold from the street. A large-as-life photographic wallpaper installation transforms the space of the gallery, and creates the illusion of an architecturally grand space. The image, taken in a historic building in Holland, presents a neoclassical interior, complete with sweeping archways and tall columns. Hovering in the center of the space, peculiarly, is a cloud. Or rather, one did hover briefly in that moment of the shutter click; only a moment later, it dissipated, as clouds tend to do, even indoor clouds.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/24/SmildeNimbus1WEB.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Berndnaut Smilde, installation view of \u003ci>Nimbus Munnekeholm\u003c/i>, 2012.\u003c/center>\n\u003cp>Amsterdam-based Smilde grew up examining Dutch seascapes resplendent with expansive cloud-filled skies and wondered at the possibility of recreating the cloud itself for exhibition. You won’t find out here how he does it — it is a guarded moment of magic that involves precise chemistry, temperature, and lighting. The organic moment of cloud creation is a matter of studio production; the resulting photographs are the product of Smilde’s fantastical experiments. Next month, the artist will visit San Francisco to privately stage cloud images in the historic Green Room of the Veteran’s Building. The Green Room photograph will be added to the exhibition and available for purchase as part of a capital campaign for the new gallery space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smilde has created clouds in a number of historic spaces, solely for the purpose of capturing them in photographs. The work contrasts our sense of the ephemeral with the implied permanence of architecture. Buildings fall and rise, or are repurposed and re-imagined all around us every day. Even as we know the built environment to be in constant transition, we imbue it with personal histories, hoping it will remain unchanged. The wallpaper installation in the gallery allows for a moment of permanent impermanence, at least from the doorway. Moving forward, the illusion is broken and reality sets in. This is the conversation between Smilde and Hanasik’s pairing: a parallel set of meanings arise from distinctly different works that challenge us to consider the past in the present.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/24/HanasikfilmstillWEB.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jason Hanasik, film still from new installation, \u003ci>We always thought the walls would protect us, but suddenly realized they were as weak as our frames\u003c/i>, 2013.\u003c/center>\n\u003cp>Hanasik’s new work for the exhibition poignantly addresses the foreclosure of the artist’s childhood family home, furthering the theme of impermanence with unexpected emotional depth. His installation in the rear gallery features a recreated skeleton of the family den in his custom-built childhood home in Virginia. Raw wood beams create contemplative space to consider a series of home videos in the installation.\u003c/p>\n\u003cp>On one side, a video projection features footage of a wooded lot, evidently before construction. On the floor, a monitor presents a video from after the building was completed, as his father tours the house with camcorder in hand. A third video was captured after the bank seizure and features a final tour of its decades-old lived-in spaces, including trace evidence of family photos removed from the walls.\u003c/p>\n\u003cp>Few will assess the work with critical distance; most everyone knows someone who lost their home in the recent financial crisis. Many of us know many who have. This does not lessen the experience of Hanasik’s work — indeed it seems the emotional impact is heightened by our collective experience of the recent financial hailstorm that left few unscathed. In conversation, the two artists’ work, timed perfectly within the gallery’s history and our larger cultural history, offers echoes of storm clouds that once hung heavily, but have since receded, clearing paths for an unknown future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Conversation 6: Jason Hanasik & Berndnaut Smilde\u003c/b> is on view at the San Francisco Arts Commission Main Gallery through April 27. For \u003ca href=\"http://www.sfartscommission.org/gallery/\">more information\u003c/a> visit sfartscommission.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cb>Conversation\u003c/b> series at the San Francisco Arts Commission Gallery (SFAC) is an important objective of gallery director Meg Shiffler. The program, which pairs the work of a regional artist with an artist “based on another point on the globe,” creates a wider context for the work of local artists while providing exposure for international artists. A broad view of contemporary art practice is developed through this pairing.\u003c/p>\n\u003cp>The current iteration — the sixth in the series — also represents the final exhibition in the SFAC’s main gallery in the historic War Memorial Veteran’s Building. Following the exhibition, the gallery in this grand Beaux Arts building will close for a two-year seismic retrofitting and staff will begin planning for the next chapter in its history. When it reopens in July 2015, the SFAC main gallery will be inaugurated in a newly designed, multipurpose space. This installation of the \u003cb>Conversation\u003c/b> series features new work by Bay Area artist Jason Hanasik and Dutch artist Berndnaut Smilde. It explores themes of conclusion, transition and renewal at precisely the same moment in the gallery’s history.\u003c/p>\n\u003cp>One is confronted with Smilde’s work when crossing the threshold from the street. A large-as-life photographic wallpaper installation transforms the space of the gallery, and creates the illusion of an architecturally grand space. The image, taken in a historic building in Holland, presents a neoclassical interior, complete with sweeping archways and tall columns. Hovering in the center of the space, peculiarly, is a cloud. Or rather, one did hover briefly in that moment of the shutter click; only a moment later, it dissipated, as clouds tend to do, even indoor clouds.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/24/SmildeNimbus1WEB.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Berndnaut Smilde, installation view of \u003ci>Nimbus Munnekeholm\u003c/i>, 2012.\u003c/center>\n\u003cp>Amsterdam-based Smilde grew up examining Dutch seascapes resplendent with expansive cloud-filled skies and wondered at the possibility of recreating the cloud itself for exhibition. You won’t find out here how he does it — it is a guarded moment of magic that involves precise chemistry, temperature, and lighting. The organic moment of cloud creation is a matter of studio production; the resulting photographs are the product of Smilde’s fantastical experiments. Next month, the artist will visit San Francisco to privately stage cloud images in the historic Green Room of the Veteran’s Building. The Green Room photograph will be added to the exhibition and available for purchase as part of a capital campaign for the new gallery space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smilde has created clouds in a number of historic spaces, solely for the purpose of capturing them in photographs. The work contrasts our sense of the ephemeral with the implied permanence of architecture. Buildings fall and rise, or are repurposed and re-imagined all around us every day. Even as we know the built environment to be in constant transition, we imbue it with personal histories, hoping it will remain unchanged. The wallpaper installation in the gallery allows for a moment of permanent impermanence, at least from the doorway. Moving forward, the illusion is broken and reality sets in. This is the conversation between Smilde and Hanasik’s pairing: a parallel set of meanings arise from distinctly different works that challenge us to consider the past in the present.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/24/HanasikfilmstillWEB.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jason Hanasik, film still from new installation, \u003ci>We always thought the walls would protect us, but suddenly realized they were as weak as our frames\u003c/i>, 2013.\u003c/center>\n\u003cp>Hanasik’s new work for the exhibition poignantly addresses the foreclosure of the artist’s childhood family home, furthering the theme of impermanence with unexpected emotional depth. His installation in the rear gallery features a recreated skeleton of the family den in his custom-built childhood home in Virginia. Raw wood beams create contemplative space to consider a series of home videos in the installation.\u003c/p>\n\u003cp>On one side, a video projection features footage of a wooded lot, evidently before construction. On the floor, a monitor presents a video from after the building was completed, as his father tours the house with camcorder in hand. A third video was captured after the bank seizure and features a final tour of its decades-old lived-in spaces, including trace evidence of family photos removed from the walls.\u003c/p>\n\u003cp>Few will assess the work with critical distance; most everyone knows someone who lost their home in the recent financial crisis. Many of us know many who have. This does not lessen the experience of Hanasik’s work — indeed it seems the emotional impact is heightened by our collective experience of the recent financial hailstorm that left few unscathed. In conversation, the two artists’ work, timed perfectly within the gallery’s history and our larger cultural history, offers echoes of storm clouds that once hung heavily, but have since receded, clearing paths for an unknown future.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Conversation 6: Jason Hanasik & Berndnaut Smilde\u003c/b> is on view at the San Francisco Arts Commission Main Gallery through April 27. For \u003ca href=\"http://www.sfartscommission.org/gallery/\">more information\u003c/a> visit sfartscommission.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. All submissions are strictly confidential and become the property of Daily Serving. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your dilemma. HELP DESK spreads the love on twitter: @ArtHelpDesk\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m wanting to know more about standards for art consultant/artist relationships that develop without a gallery being involved. I tried to look it up online and everything of course was all over the place and contradictory. I wouldn’t want to be named in a post but I am interested in knowing more. Specifically I was just approached by an art consultant who asked me ‘how I normally work with art consultants.’ I think what they wanted to know is how I want to divide sales, like a percentage ratio and I just don’t know what is normal. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For readers who aren’t acquainted with this particular niche of the art market, let’s start with what an art consultant does: she selects, acquires, and helps present artworks for clients. She might collaborate with architects and designers to create spaces congenial to the display and conservation of artworks. If she is working for a client with an extensive art collection, she may additionally curate and design exhibitions.\u003c/p>\n\u003cp>Just as there are differences in the ways in which various gallerists might work with an artist, art consultants also vary in their method — that’s why you have come across contradictory information online. For example, most consultants I know select from the already-completed works made available by artists and galleries, while \u003ca href=\"http://www.artsyshark.com/2010/11/24/how-to-work-with-art-consultants/\">San Diego consultant Barbara Markoff\u003c/a> says, “For me the perfect artist partner is an artist that does not mind taking art direction for my projects. Often the art decisions are based on color and size. Knowing that my artist partner will happily create work for me based on my recommendations makes my job much easier.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/17/RHQ1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>R. H. Quaytman, \u003ci>Passing Through The Opposite of What It Approaches, Chapter 25\u003c/i>,2012.\u003cbr>\u003c/center>\n\u003cp>I contacted a few consultants to find out if there is an industry standard that you could use as a general guide as you move forward. One San Francisco-based consultant said, “Assuming this is an emerging artist, I should say that I never take a percentage of sales from artists who are not represented by a gallery, unless our relationship is such that I’m involved in their PR (more like a gallery would be; but this is typically not done, since art consultants are supposed to be unbiased towards any one artist). That being said, I know other advisors who do take 10-15% of sales from the artist; if working with artists directly this is normally the average rate.” \u003c/p>\n\u003cp>If you are represented by a gallery, then the percentage is a little different. The consultant continued: “If this artist is working with a gallery then the discount that the gallery gives off retail (10-20%) is passed on to my client, but would not affect the 50% of the sales that the artist would receive from the gallery.” So if the consultant was acquiring a $1000 work of yours from the gallery, then you would still receive $500 and the gallery would get $400 (assuming a 10% discount and a 50-50 division of the retail price). However, it’s important to note that the gallery might want to split the discount with you; this is something you will want to negotiate with your gallerist before you start working with a consultant.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/17/RHQ2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>R. H. Quaytman, \u003ci>Passing Through The Opposite of What It Approaches, Chapter 25\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Another art consultant I contacted had a similar idea of standard practice. “When purchasing from a gallery we normally receive a 20% discount off of retail that we split with our clients. When purchasing directly from an artist who does not have gallery representation, we receive a discount in the range of 20% – 40%. We never mark up retail prices knowing the importance of a consistent sales record for the artist.”\u003c/p>\n\u003cp>As you consider percentages and discounts, you will also want to think about the nature of the collection your work might be going into. Our SF consultant said, “An artist can offer a bit of commission ‘leg room,’ but it’s up to the advisor to take it or just proceed without taking any money from the artist. The good thing is, an artist can offer as high or low as they want, given the relationship they have with an advisor. It may be wise to first know what kind of collection the work may be going to and then negotiate from there.”\u003c/p>\n\u003cp>This is a budding relationship and just like working with a gallery, you have to determine if the fit is right. As you proceed, you should consider your goals and decide if this person is a good collaborator — trust your gut! An in-person meeting or studio visit should tell you a lot about how this person operates, and if it feels like this consultant is on the level you could put your cards on the table, admit that you haven’t worked with an advisor before, and see what she recommends. Sometimes by being completely honest you can quickly separate those who are equivalently forthright from those who are cagey.\u003c/p>\n\u003cp>As a side note — since you voiced your concern — let me assure you that this column is always confidential. I never append a name or location to the question, and in some cases I have even removed potentially revealing information from the original query. A long time ago I had a teacher who said, “If you have a question, probably five other people in this room have the same question, so please ask – -if not for yourself than for the others who are also in the dark.” In the end, it’s not the questioner who is important, it’s the issues that we all struggle with together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good luck!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. All submissions are strictly confidential and become the property of Daily Serving. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your dilemma. HELP DESK spreads the love on twitter: @ArtHelpDesk\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m wanting to know more about standards for art consultant/artist relationships that develop without a gallery being involved. I tried to look it up online and everything of course was all over the place and contradictory. I wouldn’t want to be named in a post but I am interested in knowing more. Specifically I was just approached by an art consultant who asked me ‘how I normally work with art consultants.’ I think what they wanted to know is how I want to divide sales, like a percentage ratio and I just don’t know what is normal. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For readers who aren’t acquainted with this particular niche of the art market, let’s start with what an art consultant does: she selects, acquires, and helps present artworks for clients. She might collaborate with architects and designers to create spaces congenial to the display and conservation of artworks. If she is working for a client with an extensive art collection, she may additionally curate and design exhibitions.\u003c/p>\n\u003cp>Just as there are differences in the ways in which various gallerists might work with an artist, art consultants also vary in their method — that’s why you have come across contradictory information online. For example, most consultants I know select from the already-completed works made available by artists and galleries, while \u003ca href=\"http://www.artsyshark.com/2010/11/24/how-to-work-with-art-consultants/\">San Diego consultant Barbara Markoff\u003c/a> says, “For me the perfect artist partner is an artist that does not mind taking art direction for my projects. Often the art decisions are based on color and size. Knowing that my artist partner will happily create work for me based on my recommendations makes my job much easier.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/17/RHQ1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>R. H. Quaytman, \u003ci>Passing Through The Opposite of What It Approaches, Chapter 25\u003c/i>,2012.\u003cbr>\u003c/center>\n\u003cp>I contacted a few consultants to find out if there is an industry standard that you could use as a general guide as you move forward. One San Francisco-based consultant said, “Assuming this is an emerging artist, I should say that I never take a percentage of sales from artists who are not represented by a gallery, unless our relationship is such that I’m involved in their PR (more like a gallery would be; but this is typically not done, since art consultants are supposed to be unbiased towards any one artist). That being said, I know other advisors who do take 10-15% of sales from the artist; if working with artists directly this is normally the average rate.” \u003c/p>\n\u003cp>If you are represented by a gallery, then the percentage is a little different. The consultant continued: “If this artist is working with a gallery then the discount that the gallery gives off retail (10-20%) is passed on to my client, but would not affect the 50% of the sales that the artist would receive from the gallery.” So if the consultant was acquiring a $1000 work of yours from the gallery, then you would still receive $500 and the gallery would get $400 (assuming a 10% discount and a 50-50 division of the retail price). However, it’s important to note that the gallery might want to split the discount with you; this is something you will want to negotiate with your gallerist before you start working with a consultant.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/17/RHQ2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>R. H. Quaytman, \u003ci>Passing Through The Opposite of What It Approaches, Chapter 25\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Another art consultant I contacted had a similar idea of standard practice. “When purchasing from a gallery we normally receive a 20% discount off of retail that we split with our clients. When purchasing directly from an artist who does not have gallery representation, we receive a discount in the range of 20% – 40%. We never mark up retail prices knowing the importance of a consistent sales record for the artist.”\u003c/p>\n\u003cp>As you consider percentages and discounts, you will also want to think about the nature of the collection your work might be going into. Our SF consultant said, “An artist can offer a bit of commission ‘leg room,’ but it’s up to the advisor to take it or just proceed without taking any money from the artist. The good thing is, an artist can offer as high or low as they want, given the relationship they have with an advisor. It may be wise to first know what kind of collection the work may be going to and then negotiate from there.”\u003c/p>\n\u003cp>This is a budding relationship and just like working with a gallery, you have to determine if the fit is right. As you proceed, you should consider your goals and decide if this person is a good collaborator — trust your gut! An in-person meeting or studio visit should tell you a lot about how this person operates, and if it feels like this consultant is on the level you could put your cards on the table, admit that you haven’t worked with an advisor before, and see what she recommends. Sometimes by being completely honest you can quickly separate those who are equivalently forthright from those who are cagey.\u003c/p>\n\u003cp>As a side note — since you voiced your concern — let me assure you that this column is always confidential. I never append a name or location to the question, and in some cases I have even removed potentially revealing information from the original query. A long time ago I had a teacher who said, “If you have a question, probably five other people in this room have the same question, so please ask – -if not for yourself than for the others who are also in the dark.” In the end, it’s not the questioner who is important, it’s the issues that we all struggle with together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve received a handful of notable art books this month at KQED and thought we’d take a moment to share them with you.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://us.macmillan.com/banksy/WillEllsworthJones\">\u003ci>Banksy: The Man Behind the Wall\u003c/i>\u003c/a>, Will Ellsworth-Jones\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you want to know who the real Banksy is, this book is not for you. Reporter Ellsworth-Jones explains on page one that his book “does not attempt to unmask him,” but rather uncovers the trajectory of Banksy’s path from street art criminal to contemporary art world darling. Written in a conversational, sometimes cheeky tone, the book comes with a photo insert and an amazing array of images, and would definitely be a solid addition to any obsessive Banksy fan’s collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/bullfight1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=bullfight&aview=acclaim&nid=6585\">Bullfight: The Pas de Deux\u003c/a>\u003c/i>, Ricardo B. Sanchez\u003c/b>\u003c/p>\n\u003cp>It doesn’t take much to picture this hefty, full-color photo book on your coffee table, impressing your friends. It is filled with long-exposure photographs of bullfighters waving brightly colored muletas at their beastly opponents, and aims to highlight the dance and precision of movement between matador and bull. The images are all similar, yet striking in different ways. The artistic choice to shoot out-of-focus motion shots results in painterly works subtly representative of the struggle between man and nature: they take turns overpowering each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/aiweiweibook.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://press.princeton.edu/titles/9924.html\">\u003ci>Weiwei-isms\u003c/i>\u003c/a>, Ai Weiwei edited by Larry Warsh\u003c/b>\u003c/p>\n\u003cp>It’s no surprise that Chinese artist Ai Weiwei is full of wisdom, and it’s only fitting that quotes pulled from his writings, interviews, and tweets would be published in a pocket-sized hardcover gem of a book. The quotes are organized around themes related to government, power, the digital world, and the future. I flipped the book open to: “The Earth is a sphere, there is no East or West.” Boom. That’s the power of Weiwei.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/warhol.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=thankyouandywarhol&aview=pub&rid=1903\">Thank You Andy Warhol\u003c/a>\u003c/i>, Catherine Johnson\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no denying that Andy Warhol busted down art world walls in ways that are still unmatched. I’ve always thought that if it weren’t for him, many people wouldn’t be recognized for the kind of art they make today. He paved the way. This new book is filled with images of his art, photographs, sketches, and ephemera (and not the stuff you’ve already seen a million times). But the visuals are secondary to the amazing stories about him and his influence, written by luminaries such as Bob Colacello, Betsey Johnson, Jeffrey Deitch, Kara Walker, and countless other creative types and people from his life, including a heartfelt account from his nephew. Just when I thought I knew nearly everything about Warhol, this book came out and schooled me. Did you know he practically invented snakeskin sandals? Neither did I. I’ll be wrapped up in this one for a while.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/bullfight1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=bullfight&aview=acclaim&nid=6585\">Bullfight: The Pas de Deux\u003c/a>\u003c/i>, Ricardo B. Sanchez\u003c/b>\u003c/p>\n\u003cp>It doesn’t take much to picture this hefty, full-color photo book on your coffee table, impressing your friends. It is filled with long-exposure photographs of bullfighters waving brightly colored muletas at their beastly opponents, and aims to highlight the dance and precision of movement between matador and bull. The images are all similar, yet striking in different ways. The artistic choice to shoot out-of-focus motion shots results in painterly works subtly representative of the struggle between man and nature: they take turns overpowering each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/aiweiweibook.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://press.princeton.edu/titles/9924.html\">\u003ci>Weiwei-isms\u003c/i>\u003c/a>, Ai Weiwei edited by Larry Warsh\u003c/b>\u003c/p>\n\u003cp>It’s no surprise that Chinese artist Ai Weiwei is full of wisdom, and it’s only fitting that quotes pulled from his writings, interviews, and tweets would be published in a pocket-sized hardcover gem of a book. The quotes are organized around themes related to government, power, the digital world, and the future. I flipped the book open to: “The Earth is a sphere, there is no East or West.” Boom. That’s the power of Weiwei.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/warhol.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=thankyouandywarhol&aview=pub&rid=1903\">Thank You Andy Warhol\u003c/a>\u003c/i>, Catherine Johnson\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no denying that Andy Warhol busted down art world walls in ways that are still unmatched. I’ve always thought that if it weren’t for him, many people wouldn’t be recognized for the kind of art they make today. He paved the way. This new book is filled with images of his art, photographs, sketches, and ephemera (and not the stuff you’ve already seen a million times). But the visuals are secondary to the amazing stories about him and his influence, written by luminaries such as Bob Colacello, Betsey Johnson, Jeffrey Deitch, Kara Walker, and countless other creative types and people from his life, including a heartfelt account from his nephew. Just when I thought I knew nearly everything about Warhol, this book came out and schooled me. Did you know he practically invented snakeskin sandals? Neither did I. I’ll be wrapped up in this one for a while.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to–contemporary art. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with questions. All submissions remain strictly confidential and become the property of Daily Serving. HELP DESK spreads the love on twitter: @ArtHelpDesk \u003c/i>\u003c/p>\n\u003cp>\u003cb>My question concerns the issue of a “signature style” and the importance of projecting an image of consistency (particularly on one’s personal website). I’ve done a lot of different things, and tend to work in the medium that I feel best expresses what I am trying to communicate. As a result, I’ve got a real mix of things (photos, text-based pieces, assemblages/sculptures, some video work) and categorizing on my site is done by 2D, 3D, and “other” (to include video, installation, proposals).\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>While I can personally see the threads of consistency running through the work, I’ve been cautioned that I need to “grow up, pick one thing, and get known for it.” I realize that curators and judges look at my site, as do galleries and employers I might be courting. While I feel the need to be true to my vision, should I maybe rethink what I’m publicly presenting? Is it just too much for people? Does it present me as scattered and lacking seriousness? Maybe as a compromise, should I not limit what I make, but be more focused by what I share and exhibit? I understand that there are many shades of gray here, and it is difficult for you to comment without actually seeing the work. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Let me start by saying that I don’t believe you should put an arbitrary limit on the kinds of things that you make, and certainly never for the humdrum purpose of marketing your work. While it may be an idealistic, unpragmatic thing to say, I do believe that artmaking is the last bastion of real freedom. If you artificially restrain what you make in order to curry speculative favor with a narrow set of people who may or may not assist your career, you’ll only hurt yourself in the long run. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/04/Chan1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Paul Chan, \u003ci>Sade for Sade’s Sake\u003c/i>, 2009.\u003c/p>\n\u003cp>That said, the other option is to continue making whatever you want, but be selective about what you show to the world. There’s no reason to put every last thing you’ve ever made on your website, as viewers might find it overwhelming or confusing, so slim it down to a manageable group of works. The first step is to take a really hard look at your oeuvre and select your strongest pieces or projects. Pretend you are starting from scratch with the new site and concentrate on quality over quantity. Be unsentimental! Make a list of these works as you go, and once you’ve gone through your images the next step is to figure out how you’re going to arrange or order them. \u003c/p>\n\u003cp>Surely there \u003ci>is\u003c/i> a thread of conceptual continuity that runs through all of your projects, even if it’s sometimes hard to discern. Your job now is to find a way to emphasize that thread in the layout of your website. You might want to try using \u003ca href=\"http://www.wikihow.com/Write-an-Outline\">a standard outline\u003c/a> for this kind of organizing because it mimics the architecture of most websites. For example: \u003c/p>\n\u003cp>1.) Oil on canvas, chiaroscuro\u003cbr> A.) work from 2012\u003cbr> i.) Sunset on Dragon Lake\u003cbr> ii.) The Coachman’s Dress\u003cbr> iii.) Grapes & Wicker\u003cbr> B.) work from 2011\u003cbr>etc.\u003c/p>\n\u003cp>You could arrange your projects by medium as you’ve done before, but you could also make an outline for a chronological organization, or by project or solo exhibition, or for particular concepts you’ve explored. If you try different ways of sorting, they might lead you to a new way of expressing the commonalities between your works. And if you really have a hard time doing all this with words on paper, you could try printing tiny images of your work and rearranging them on a wall or table until you find a combination that makes sense. Remember to keep an eye on \u003ci>cohesion\u003c/i> and try to look at your distributions as a stranger would. As you go, just keep asking yourself, “Does this make sense?” If your final preferred grouping is nontraditional, make sure you have a solid justification for it. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/04/chan3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Paul Chan, \u003ci>Constellation Series, Right to peaceably assemble (formerly Cassiopeia)\u003c/i>, 2005.\u003c/p>\n\u003cp>You can also unify the work with good site design, keeping the layout consistent from page to page. If you’re not creating a website using one of the popular template-based site builders, be sure that your font styles and sizes are the same throughout and that all your images are one standard width. Having a regular structure or format for each section will help, too. For example, if you arrange the site by project or exhibition, then in each section you could show an installation shot, then the individual works, and then a detail shot or two if the work warrants it; if you’re grouping your work by a medium like drawing, then you can establish a rhythm by consistently showing a sequence of overall shot, detail, overall shot, detail, etc. The goal here is to unite all the different works by establishing a background of uniformity in the site’s structure. \u003c/p>\n\u003cp>The other part of your site that can really help bring everything together is your statement. This is perhaps the hardest part, but when you are going through all your images and organizing them, think about the progression of your ideas and the way that one project has moved you to the next. What are the similarities between your works? What notions or concepts have you been following? 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to–contemporary art. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with questions. All submissions remain strictly confidential and become the property of Daily Serving. HELP DESK spreads the love on twitter: @ArtHelpDesk \u003c/i>\u003c/p>\n\u003cp>\u003cb>My question concerns the issue of a “signature style” and the importance of projecting an image of consistency (particularly on one’s personal website). I’ve done a lot of different things, and tend to work in the medium that I feel best expresses what I am trying to communicate. As a result, I’ve got a real mix of things (photos, text-based pieces, assemblages/sculptures, some video work) and categorizing on my site is done by 2D, 3D, and “other” (to include video, installation, proposals).\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>While I can personally see the threads of consistency running through the work, I’ve been cautioned that I need to “grow up, pick one thing, and get known for it.” I realize that curators and judges look at my site, as do galleries and employers I might be courting. While I feel the need to be true to my vision, should I maybe rethink what I’m publicly presenting? Is it just too much for people? Does it present me as scattered and lacking seriousness? Maybe as a compromise, should I not limit what I make, but be more focused by what I share and exhibit? I understand that there are many shades of gray here, and it is difficult for you to comment without actually seeing the work. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let me start by saying that I don’t believe you should put an arbitrary limit on the kinds of things that you make, and certainly never for the humdrum purpose of marketing your work. While it may be an idealistic, unpragmatic thing to say, I do believe that artmaking is the last bastion of real freedom. If you artificially restrain what you make in order to curry speculative favor with a narrow set of people who may or may not assist your career, you’ll only hurt yourself in the long run. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/04/Chan1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Paul Chan, \u003ci>Sade for Sade’s Sake\u003c/i>, 2009.\u003c/p>\n\u003cp>That said, the other option is to continue making whatever you want, but be selective about what you show to the world. There’s no reason to put every last thing you’ve ever made on your website, as viewers might find it overwhelming or confusing, so slim it down to a manageable group of works. The first step is to take a really hard look at your oeuvre and select your strongest pieces or projects. Pretend you are starting from scratch with the new site and concentrate on quality over quantity. Be unsentimental! Make a list of these works as you go, and once you’ve gone through your images the next step is to figure out how you’re going to arrange or order them. \u003c/p>\n\u003cp>Surely there \u003ci>is\u003c/i> a thread of conceptual continuity that runs through all of your projects, even if it’s sometimes hard to discern. Your job now is to find a way to emphasize that thread in the layout of your website. You might want to try using \u003ca href=\"http://www.wikihow.com/Write-an-Outline\">a standard outline\u003c/a> for this kind of organizing because it mimics the architecture of most websites. For example: \u003c/p>\n\u003cp>1.) Oil on canvas, chiaroscuro\u003cbr> A.) work from 2012\u003cbr> i.) Sunset on Dragon Lake\u003cbr> ii.) The Coachman’s Dress\u003cbr> iii.) Grapes & Wicker\u003cbr> B.) work from 2011\u003cbr>etc.\u003c/p>\n\u003cp>You could arrange your projects by medium as you’ve done before, but you could also make an outline for a chronological organization, or by project or solo exhibition, or for particular concepts you’ve explored. If you try different ways of sorting, they might lead you to a new way of expressing the commonalities between your works. And if you really have a hard time doing all this with words on paper, you could try printing tiny images of your work and rearranging them on a wall or table until you find a combination that makes sense. Remember to keep an eye on \u003ci>cohesion\u003c/i> and try to look at your distributions as a stranger would. As you go, just keep asking yourself, “Does this make sense?” If your final preferred grouping is nontraditional, make sure you have a solid justification for it. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/04/chan3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Paul Chan, \u003ci>Constellation Series, Right to peaceably assemble (formerly Cassiopeia)\u003c/i>, 2005.\u003c/p>\n\u003cp>You can also unify the work with good site design, keeping the layout consistent from page to page. If you’re not creating a website using one of the popular template-based site builders, be sure that your font styles and sizes are the same throughout and that all your images are one standard width. Having a regular structure or format for each section will help, too. For example, if you arrange the site by project or exhibition, then in each section you could show an installation shot, then the individual works, and then a detail shot or two if the work warrants it; if you’re grouping your work by a medium like drawing, then you can establish a rhythm by consistently showing a sequence of overall shot, detail, overall shot, detail, etc. The goal here is to unite all the different works by establishing a background of uniformity in the site’s structure. \u003c/p>\n\u003cp>The other part of your site that can really help bring everything together is your statement. This is perhaps the hardest part, but when you are going through all your images and organizing them, think about the progression of your ideas and the way that one project has moved you to the next. What are the similarities between your works? What notions or concepts have you been following? The statement is the place where you can wrap it all up and put a bow on it, so don’t neglect this portion of your site. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with questions. All submissions remain strictly confidential and become the property of Daily Serving. Help Desk spreads the love on Twitter: @ArtHelpDesk \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a painter with good gallery representation. There seems to be public interest in the work I make and I am sometimes asked about prints or reproductions. As a printmaker, I don’t like the idea of “limited edition” art prints that blur the line between hand-pulled work and technically limitless reproductions, but I’ve always been a fan of the accessibility of posters and the 9″ x 12″ reproductions you can buy in museum gift shops. I’m not so successful I can afford to print off and give away a big run of such things. Is there a middle ground in publishing reproductions? Something where non-collector fans could spend $10 – $50 on a picture? I’d rather like to send a nice .tif to anyone who asks and suggest they print it out on their own computer. For $5 I could mail them a sticker with my actual signature.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is the Art Police! Put the mouse down and step away from the computer!\u003c/p>\n\u003cp>While I appreciate the spirit of your generosity, I beg you to abandon the idea of sending .tif files of your work to your admirers. For one thing, you can’t control what the recipient of such a file would do with it once it’s in her possession. She might blow it up or crop it, change the colors, or run it through some ghastly Photoshop filter. There’s also the issue of the subsequent printing, since a home-use HP or Epson isn’t calibrated for color or quality in the same way that a printing house has control of their giclee printers. In the end, who knows what might happen to your image: it could end up re-sized, re-colored, and smudgy — and then it would bear a sticker with your name on the bottom. I won’t arrest you this time, but consider this an Official Warning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jules de Balincourt, \u003ci>Idol Hands\u003c/i>, 2012.\u003c/p>\n\u003cp>Anyone asking about prints or reproductions either wants a painting that’s already sold or they’re looking for a low-cost way of collecting your work. Notice that I said \u003ci>low cost\u003c/i> and not \u003ci>free\u003c/i>. There are all sorts of middle-ground options available that make your work more accessible to the entry-level buyer — because a “non-collector fan” is just a collector waiting to happen, right? So let’s review your options. \u003c/p>\n\u003cp>If you have a high-quality digital file made from a completed painting, and if you work with a good printer, there’s nothing wrong with making giclee prints. Since you control both the file and the edition size, the way to get around the “technically limitless” character of giclees is to print all the editions at one time and then destroy the digital file. And if you don’t want to go the full giclee route, you could make a limited edition of prints that you hand color (so, your edition size might be ten, “each unique”). \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jules de Balincourt, \u003ci>Illuminated\u003c/i>, 2012.\u003c/p>\n\u003cp>Another way to make a low-cost printed edition would be to scan a work from your studio and have it hosted on a print-on-demand site like \u003ca href=\"http://www.fineartamerica.com\">fineartamerica.com\u003c/a>. Though I personally can’t vouch for the quality, it seems like an option worth exploring, as they will print, frame, mat, package, and ship it for you (and send you a check at the end of the month). The site is kind of cheesy, but you’d have an immediate way of meeting entry-level collectors’ desires — just give them the URL where your work resides and let them do the clicking. Likewise, you could put together a small book of your work and have it printed-on-demand through a site like \u003ca href=\"http://www.lulu.com/us/en\">Lulu\u003c/a> or \u003ca href=\"http://www.blurb.com/\">Blurb\u003c/a>. There are a few permutations of this idea that you could explore, go to \u003ca href=\"http://www.squidoo.com/Art-pod\">squidoo.com to find more information about printing art on demand\u003c/a>, along with reviews of the businesses that provide such services.\u003c/p>\n\u003cp>For future reference, Jen Bekman’s \u003ca href=\"http://www.20x200.com/\">20×200\u003c/a> is a website offering a curated selection of low-cost prints by artists. The opportunity to submit unsolicited work is not available right now, but you can be notified of future open calls for work by entering your information on \u003ca href=\"http://www.20x200.com/artist-submissions\">their submission form\u003c/a>. The wonderful thing about 20×200 is that it also markets the work for you, reaching beyond the collectors you already have and getting the work into new hands, so it’s worth it to sign up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever option you choose, you need to have an in-depth conversation with your galleries about this issue. They might be interested in giving you the financial backing to create a run of really high quality reproductions, or if you really want to stay traditional, they might help find access to equipment and facilities for more established printing methods like screen printing or etching. Those that don’t ask don’t receive, so determine exactly what you’d like to do and approach them with a plan. The worst that happens is a \u003ci>no\u003c/i>, but it’s in their interest to help you get your work out into the world and increase your collector base, so it’s quite possible that the answer might be \u003ci>yes\u003c/i>. Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with questions. All submissions remain strictly confidential and become the property of Daily Serving. Help Desk spreads the love on Twitter: @ArtHelpDesk \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a painter with good gallery representation. There seems to be public interest in the work I make and I am sometimes asked about prints or reproductions. As a printmaker, I don’t like the idea of “limited edition” art prints that blur the line between hand-pulled work and technically limitless reproductions, but I’ve always been a fan of the accessibility of posters and the 9″ x 12″ reproductions you can buy in museum gift shops. I’m not so successful I can afford to print off and give away a big run of such things. Is there a middle ground in publishing reproductions? Something where non-collector fans could spend $10 – $50 on a picture? I’d rather like to send a nice .tif to anyone who asks and suggest they print it out on their own computer. For $5 I could mail them a sticker with my actual signature.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is the Art Police! Put the mouse down and step away from the computer!\u003c/p>\n\u003cp>While I appreciate the spirit of your generosity, I beg you to abandon the idea of sending .tif files of your work to your admirers. For one thing, you can’t control what the recipient of such a file would do with it once it’s in her possession. She might blow it up or crop it, change the colors, or run it through some ghastly Photoshop filter. There’s also the issue of the subsequent printing, since a home-use HP or Epson isn’t calibrated for color or quality in the same way that a printing house has control of their giclee printers. In the end, who knows what might happen to your image: it could end up re-sized, re-colored, and smudgy — and then it would bear a sticker with your name on the bottom. I won’t arrest you this time, but consider this an Official Warning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jules de Balincourt, \u003ci>Idol Hands\u003c/i>, 2012.\u003c/p>\n\u003cp>Anyone asking about prints or reproductions either wants a painting that’s already sold or they’re looking for a low-cost way of collecting your work. Notice that I said \u003ci>low cost\u003c/i> and not \u003ci>free\u003c/i>. There are all sorts of middle-ground options available that make your work more accessible to the entry-level buyer — because a “non-collector fan” is just a collector waiting to happen, right? So let’s review your options. \u003c/p>\n\u003cp>If you have a high-quality digital file made from a completed painting, and if you work with a good printer, there’s nothing wrong with making giclee prints. Since you control both the file and the edition size, the way to get around the “technically limitless” character of giclees is to print all the editions at one time and then destroy the digital file. And if you don’t want to go the full giclee route, you could make a limited edition of prints that you hand color (so, your edition size might be ten, “each unique”). \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jules de Balincourt, \u003ci>Illuminated\u003c/i>, 2012.\u003c/p>\n\u003cp>Another way to make a low-cost printed edition would be to scan a work from your studio and have it hosted on a print-on-demand site like \u003ca href=\"http://www.fineartamerica.com\">fineartamerica.com\u003c/a>. Though I personally can’t vouch for the quality, it seems like an option worth exploring, as they will print, frame, mat, package, and ship it for you (and send you a check at the end of the month). The site is kind of cheesy, but you’d have an immediate way of meeting entry-level collectors’ desires — just give them the URL where your work resides and let them do the clicking. Likewise, you could put together a small book of your work and have it printed-on-demand through a site like \u003ca href=\"http://www.lulu.com/us/en\">Lulu\u003c/a> or \u003ca href=\"http://www.blurb.com/\">Blurb\u003c/a>. There are a few permutations of this idea that you could explore, go to \u003ca href=\"http://www.squidoo.com/Art-pod\">squidoo.com to find more information about printing art on demand\u003c/a>, along with reviews of the businesses that provide such services.\u003c/p>\n\u003cp>For future reference, Jen Bekman’s \u003ca href=\"http://www.20x200.com/\">20×200\u003c/a> is a website offering a curated selection of low-cost prints by artists. The opportunity to submit unsolicited work is not available right now, but you can be notified of future open calls for work by entering your information on \u003ca href=\"http://www.20x200.com/artist-submissions\">their submission form\u003c/a>. The wonderful thing about 20×200 is that it also markets the work for you, reaching beyond the collectors you already have and getting the work into new hands, so it’s worth it to sign up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever option you choose, you need to have an in-depth conversation with your galleries about this issue. They might be interested in giving you the financial backing to create a run of really high quality reproductions, or if you really want to stay traditional, they might help find access to equipment and facilities for more established printing methods like screen printing or etching. Those that don’t ask don’t receive, so determine exactly what you’d like to do and approach them with a plan. The worst that happens is a \u003ci>no\u003c/i>, but it’s in their interest to help you get your work out into the world and increase your collector base, so it’s quite possible that the answer might be \u003ci>yes\u003c/i>. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area artist Jay Nelson has always been into building tree houses, and now he does it for a living. Starting a few years back with a couple of installations in local art galleries, Jay, who has no formal carpentry training, taught himself how to build the imaginary structures that were floating around in his head. We talked to Jay about how he has been able to turn his passion into a business, learning more about his philosophy of life and his definition of success.\u003c/p>\n\u003cp>This is the pilot episode of \u003ci>Working Title\u003c/i>, a collaboration between KQED and \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a>, hosted by Kelly Lynn Jones of LPP and Andrew Martin Scott, co-owner of \u003ca href=\"http://www.needles-pens.com/\">Needles and Pens\u003c/a>. Through this program, which will include videos, interviews, articles and essays, we will explore how local artist entrepreneurs are re-inventing the American Dream, creating alternative economies and redefining success in the Bay Area. Stay tuned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artist Jay Nelson has always been into building tree houses, and now he does it for a living. Starting a few years back with a couple of installations in local art galleries, Jay, who has no formal carpentry training, taught himself how to build the imaginary structures that were floating around in his head. We talked to Jay about how he has been able to turn his passion into a business, learning more about his philosophy of life and his definition of success.\u003c/p>\n\u003cp>This is the pilot episode of \u003ci>Working Title\u003c/i>, a collaboration between KQED and \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a>, hosted by Kelly Lynn Jones of LPP and Andrew Martin Scott, co-owner of \u003ca href=\"http://www.needles-pens.com/\">Needles and Pens\u003c/a>. Through this program, which will include videos, interviews, articles and essays, we will explore how local artist entrepreneurs are re-inventing the American Dream, creating alternative economies and redefining success in the Bay Area. Stay tuned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Consider the Alternatives: An Index of Experimental Art Spaces",
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"content": "\u003cp>The Bay Area offers a rich history of alternative and experimental art spaces that have served as platforms for a diverse range of artists. Dig below the surface of contemporary art and you will find alternative spaces at the roots. But what is an alternative space? The definition is open-ended. They are sometimes storefronts or apartments, stairwells or windows — basically any space that might be used to present art.\u003c/p>\n\u003cp>In fact alternative spaces are more often defined by what they aren’t: they are not conventional commercial galleries, or white cubes, or museums. They are sometimes temporary gestures, defined less by built space than by a drive to support artistic experimentation. They are typically run on a shoestring budget — or no budget, as the case may be. There may be a hint of commercial activity — and why shouldn’t there be? — but they do not offer representation in the traditional sense. They do, however, support artists by providing space to realize new ideas. They are always a labor of love and an ongoing investigation of sustainability. Hours may be spotty — sometimes these folks work day jobs and night jobs to sustain their art habit, so call ahead. Here are a few spaces to consider the next time you are looking for an alternative.\u003c/p>\n\u003cp>\u003cb>Aggregate Space, Oakland\u003c/b>\u003cbr>Aggregate Space is an artist-run gallery with a specific focus on sculpture and digital media. The \u003ca href=\"http://featherboard.wordpress.com/\">Featherboard Writing Series\u003c/a>, a regular program, brings together visual artists and writers “to explore a new set of themes, tropes, or images.” Up now: New sculpture and video by \u003ca href=\"http://petehickok.com/home.html\">Pete Hickok\u003c/a>. For \u003ca href=\"http://www.aggregatespace.com/\">more information\u003c/a> visit aggregatespace.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/alterspace2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Alter Space\u003c/p>\n\u003cp>\u003cb>Alter Space, San Francisco\u003c/b>\u003cbr>Alter Space occupies a 5,000 square foot section of the building that formerly housed Stormy Leather, the city’s premier leather and bondage retailer. In addition to studios and collaborative workshops, Alter Space’s programming engages remnant history of the former occupants with a jail cell residency and peephole gallery; also featured is the “The Bowery,” a permanently situated, \u003ca href=\"http://alterspace.co/about-2/bowery/\">evolving display of dioramas\u003c/a> by the artist Koak. Upcoming: \u003ca href=\"http://alterspace.co/portfolio/rememberingiseverything/\">\u003ci>Remembering is Everything\u003c/i>\u003c/a> curated by Bean Gilsdorf and A. Will Brown. For \u003ca href=\"http://alterspace.co/visit/\">more information\u003c/a> visit alterspace.co.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Krowswork, Oakland\u003c/b>\u003cbr>Krowswork, directed by Jasmine Moorhead, specifically focuses on new media artists working in video and photography — it is a hybrid gallery with an alternative agenda. Rows of former church pews in the main gallery create an oddly inviting space to take in time-based media. Moorhead solicits submissions on the website by stating “Out-there ideas welcome.” Up now: \u003ca href=\"http://www.krowswork.com/sheworld.html\">Ursula Brookbank: SHE WORLD\u003c/a>. For \u003ca href=\"http://www.krowswork.com/\">more information\u003c/a> visit krowswork.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/royalnonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Royal Nonesuch Gallery\u003c/p>\n\u003cp>\u003cb>Royal Nonesuch Gallery, Oakland\u003c/b>\u003cbr>Royal Nonesuch is an artist-run space in Oakland’s Temescal district. It is a small storefront space with a community-driven agenda and a clear focus on participatory events and projects. Up now: \u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/january-2013-curated-by-jackie-im--aaron-harbour/\">Three weekend-long shows in January\u003c/a> curated by Jackie Im and Aaron Harbour. For \u003ca href=\"http://www.royalnonesuchgallery.com/\">more information\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/stairwells2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Stairwells\u003c/p>\n\u003cp>\u003cb>Stairwells, San Francisco\u003c/b>\u003cbr>Stairwells is an itinerant series of temporary site-specific exhibitions accompanied by new publications and off-site “field trips,” organized by Sarah Hotchkiss and Carey Lin. A recent series of projects was staged in a private home in Bernal Heights. Coming up: Field Trip #3 on February 10, location to be announced. For \u003ca href=\"http://stairwells.org/\">more information\u003c/a> visit stairwells.org.\u003c/p>\n\u003cp>\u003cb>2nd Floor Projects, San Francisco\u003c/b>\u003cbr>Margaret Tedesco founded 2nd Floor Projects in 2007 out of her San Francisco flat. Another hybrid project space, 2nd Floor Projects straddles gallery objectives and an alternative agenda. Limited edition broadsides, often hand assembled by Tedesco, are commissioned for each show by writers who may or may not respond to the exhibition. Coming up: 2nd Floor Projects will participate in \u003ca href=\"http://www.e-flux.com/announcements/la-art-book-fair/\">Printed Matter’s LA Art Book Fair\u003c/a>. For \u003ca href=\"http://projects2ndfloor.blogspot.com/\">more information\u003c/a> visit projects2ndfloor.blogspot.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/storefront2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Store Front Lab\u003c/p>\n\u003cp>\u003cb>Store Front Lab, San Francisco\u003c/b>\u003cbr>Store Front Lab is a special project by Yosh Asato and David Baker occupying a storefront space in the Mission District and featuring “experiments of community interest,” which last anywhere from a day to a month. Up now: Obsolete Californias presented by Shipping and Receiving (Heather Smith and Torreya Cummings). For \u003ca href=\"http://www.storefrontlab.org/\">more information\u003c/a> visit storefrontlab.org.\u003c/p>\n\u003cp>[vimeo 24492068 w=480 h=354] \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/24492068\">Great Wall Of Oakland\u003c/a> from \u003ca href=\"http://vimeo.com/user1397428\">alva films\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003cb>The Great Wall of Oakland\u003c/b>\u003cbr>The Great Wall of Oakland is a 100′ x 100′ projection wall on the exterior of a downtown Oakland building. Every first Friday of the month, barring inclement weather, features an international variety of video and animations — audio is broadcast on 89.5 FM for viewers to tune in from their cars, in addition to speakers on site. Oakland School for the Arts Digital Media is running a Kickstarter campaign right now for their upcoming show in February. For \u003ca href=\"http://greatwallofoakland.org/\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Will Brown, San Francisco\u003c/b>\u003cbr>Will Brown is a collaborative project, organized by Lindsey White, Jordan Stein, and David Kazprzak — it presently manifests as an experimental exhibition space in the Mission district storefront that was formerly home to Triple Base gallery. A recent event, launching a limited edition “fun(d)raiser” with artist Tauba Auerbach, promised “champagne, cake, and spontaneous applause.” For \u003ca href=\"http://www.wearewillbrown.com/\">more information\u003c/a> visit wearewillbrown.com.\u003c/p>\n\n",
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"excerpt": "Ranging from storefronts to apartments, stairwells to street-facing windows, these nine experimental art spaces demonstrate how art can be found just about anywhere in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area offers a rich history of alternative and experimental art spaces that have served as platforms for a diverse range of artists. Dig below the surface of contemporary art and you will find alternative spaces at the roots. But what is an alternative space? The definition is open-ended. They are sometimes storefronts or apartments, stairwells or windows — basically any space that might be used to present art.\u003c/p>\n\u003cp>In fact alternative spaces are more often defined by what they aren’t: they are not conventional commercial galleries, or white cubes, or museums. They are sometimes temporary gestures, defined less by built space than by a drive to support artistic experimentation. They are typically run on a shoestring budget — or no budget, as the case may be. There may be a hint of commercial activity — and why shouldn’t there be? — but they do not offer representation in the traditional sense. They do, however, support artists by providing space to realize new ideas. They are always a labor of love and an ongoing investigation of sustainability. Hours may be spotty — sometimes these folks work day jobs and night jobs to sustain their art habit, so call ahead. Here are a few spaces to consider the next time you are looking for an alternative.\u003c/p>\n\u003cp>\u003cb>Aggregate Space, Oakland\u003c/b>\u003cbr>Aggregate Space is an artist-run gallery with a specific focus on sculpture and digital media. The \u003ca href=\"http://featherboard.wordpress.com/\">Featherboard Writing Series\u003c/a>, a regular program, brings together visual artists and writers “to explore a new set of themes, tropes, or images.” Up now: New sculpture and video by \u003ca href=\"http://petehickok.com/home.html\">Pete Hickok\u003c/a>. For \u003ca href=\"http://www.aggregatespace.com/\">more information\u003c/a> visit aggregatespace.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/alterspace2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Alter Space\u003c/p>\n\u003cp>\u003cb>Alter Space, San Francisco\u003c/b>\u003cbr>Alter Space occupies a 5,000 square foot section of the building that formerly housed Stormy Leather, the city’s premier leather and bondage retailer. In addition to studios and collaborative workshops, Alter Space’s programming engages remnant history of the former occupants with a jail cell residency and peephole gallery; also featured is the “The Bowery,” a permanently situated, \u003ca href=\"http://alterspace.co/about-2/bowery/\">evolving display of dioramas\u003c/a> by the artist Koak. Upcoming: \u003ca href=\"http://alterspace.co/portfolio/rememberingiseverything/\">\u003ci>Remembering is Everything\u003c/i>\u003c/a> curated by Bean Gilsdorf and A. Will Brown. For \u003ca href=\"http://alterspace.co/visit/\">more information\u003c/a> visit alterspace.co.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Krowswork, Oakland\u003c/b>\u003cbr>Krowswork, directed by Jasmine Moorhead, specifically focuses on new media artists working in video and photography — it is a hybrid gallery with an alternative agenda. Rows of former church pews in the main gallery create an oddly inviting space to take in time-based media. Moorhead solicits submissions on the website by stating “Out-there ideas welcome.” Up now: \u003ca href=\"http://www.krowswork.com/sheworld.html\">Ursula Brookbank: SHE WORLD\u003c/a>. For \u003ca href=\"http://www.krowswork.com/\">more information\u003c/a> visit krowswork.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/royalnonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Royal Nonesuch Gallery\u003c/p>\n\u003cp>\u003cb>Royal Nonesuch Gallery, Oakland\u003c/b>\u003cbr>Royal Nonesuch is an artist-run space in Oakland’s Temescal district. It is a small storefront space with a community-driven agenda and a clear focus on participatory events and projects. Up now: \u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/january-2013-curated-by-jackie-im--aaron-harbour/\">Three weekend-long shows in January\u003c/a> curated by Jackie Im and Aaron Harbour. For \u003ca href=\"http://www.royalnonesuchgallery.com/\">more information\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/stairwells2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Stairwells\u003c/p>\n\u003cp>\u003cb>Stairwells, San Francisco\u003c/b>\u003cbr>Stairwells is an itinerant series of temporary site-specific exhibitions accompanied by new publications and off-site “field trips,” organized by Sarah Hotchkiss and Carey Lin. A recent series of projects was staged in a private home in Bernal Heights. Coming up: Field Trip #3 on February 10, location to be announced. For \u003ca href=\"http://stairwells.org/\">more information\u003c/a> visit stairwells.org.\u003c/p>\n\u003cp>\u003cb>2nd Floor Projects, San Francisco\u003c/b>\u003cbr>Margaret Tedesco founded 2nd Floor Projects in 2007 out of her San Francisco flat. Another hybrid project space, 2nd Floor Projects straddles gallery objectives and an alternative agenda. Limited edition broadsides, often hand assembled by Tedesco, are commissioned for each show by writers who may or may not respond to the exhibition. Coming up: 2nd Floor Projects will participate in \u003ca href=\"http://www.e-flux.com/announcements/la-art-book-fair/\">Printed Matter’s LA Art Book Fair\u003c/a>. For \u003ca href=\"http://projects2ndfloor.blogspot.com/\">more information\u003c/a> visit projects2ndfloor.blogspot.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/storefront2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Store Front Lab\u003c/p>\n\u003cp>\u003cb>Store Front Lab, San Francisco\u003c/b>\u003cbr>Store Front Lab is a special project by Yosh Asato and David Baker occupying a storefront space in the Mission District and featuring “experiments of community interest,” which last anywhere from a day to a month. Up now: Obsolete Californias presented by Shipping and Receiving (Heather Smith and Torreya Cummings). For \u003ca href=\"http://www.storefrontlab.org/\">more information\u003c/a> visit storefrontlab.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/24492068\">Great Wall Of Oakland\u003c/a> from \u003ca href=\"http://vimeo.com/user1397428\">alva films\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003cb>The Great Wall of Oakland\u003c/b>\u003cbr>The Great Wall of Oakland is a 100′ x 100′ projection wall on the exterior of a downtown Oakland building. Every first Friday of the month, barring inclement weather, features an international variety of video and animations — audio is broadcast on 89.5 FM for viewers to tune in from their cars, in addition to speakers on site. Oakland School for the Arts Digital Media is running a Kickstarter campaign right now for their upcoming show in February. For \u003ca href=\"http://greatwallofoakland.org/\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Will Brown, San Francisco\u003c/b>\u003cbr>Will Brown is a collaborative project, organized by Lindsey White, Jordan Stein, and David Kazprzak — it presently manifests as an experimental exhibition space in the Mission district storefront that was formerly home to Triple Base gallery. A recent event, launching a limited edition “fun(d)raiser” with artist Tauba Auerbach, promised “champagne, cake, and spontaneous applause.” For \u003ca href=\"http://www.wearewillbrown.com/\">more information\u003c/a> visit wearewillbrown.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. All submissions are strictly confidential and become the property of Daily Serving. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your dilemma.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Happy New Year! For 2013, Help Desk is going to be published every other week to make time for my other art adventures. But there are always ideas I want to share that don’t require a whole column, so now Help Desk spreads the love on Twitter: @ArtHelpDesk.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When is an artist ready to approach galleries? I’ve been exhibiting my art for about 5 years with a couple decent solo shows and a few big sales. It’s not an extensive track record, but I’m dedicated and need to increase sales if I want to keep making art (I do!). I keep thinking I’m “almost” ready and don’t want to waste my time or the gallerists’ or risk making a poor first impression with them by jumping the gun. I’ve read different advice in books but still feel unsure about this important step. \u003c/b>\u003c/p>\n\u003cp>Nice spin on an old favorite! Usually the query is about \u003ci>how\u003c/i> to find a gallery, but equally weighty is the question of \u003ci>when\u003c/i>. Begin soliciting galleries before you’re ready and you’re likely to receive rejection after rejection as you waste your time on administrative tasks instead of making artwork. You’re right to think about the initial impression you make on a gallerist, too, since you risk being labeled a rank amateur. On the other hand, if you and your work are ready to start seeking representation, there’s no reason to hang back shyly. You’re unlikely to be discovered à la Lana Turner at the soda fountain — you need to get your work out there in front of people.\u003c/p>\n\u003cp>So how do you know when you’re ready? It’s going to come down to the work’s quality, your determination, and — for some galleries — your resume. Let’s start with the work: you will have a better response from gallerists if you present a body of high quality work that feels cohesive. A body of work doesn’t have to \u003ci>look\u003c/i> all the same (perhaps your studio practice has been dedicated to investigating different material forms of a particular concept, for example), but the individual pieces should have some clear commonalities. Quality is subjective and therefore trickier, and different gallerists will have various ideas of what it means. We’ll come back to the idea of quality in a moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/07/Sosnowska1.jpg\" style=\"margin-bottom: 10px\">\u003cbr> Monika Sosnowska, \u003ci>Stairway\u003c/i>, 2010.\u003c/p>\n\u003cp>The next question is, how’s your stamina? I don’t want to harsh your mellow, but by pursuing gallery representation you’re entering into one of those “prepare for the worst and hope for the best” situations. This will include some tough, time-consuming work: carefully researching galleries that exhibit art in your style/medium/concept, networking at openings and art events, and reaching out via emails, submissions, and in-person meetings. All of this takes major effort, and anticipating the worst means steeling yourself for the inevitable rejections — so that when they come you can brush them off and forge ahead. Conversely, you also have to prepare for success by continuing to make good work and studying legal and logistical protocols so that you’re ready to go when you hear a “yes.” Gallery representation might mean studio visits, dealing with consignment forms and other contracts, and packing and shipping work. Part of being ready to approach a gallery means understanding various conventions of behavior and codes of the art market, and if doing this kind of homework doesn’t sound exhausting then perhaps it’s a sign that you’re ready to move forward. \u003c/p>\n\u003cp>On to your resume and sales: you mention a couple of “decent” solo shows, but since that might mean anything from the lobby of the public library to an exhibition at an art non-profit, it’s on you to make a clear-eyed assessment of how much credibility and cachet you’ve built up. Sales, if they have been made to strangers and not just Aunt Ada, demonstrate that your work is admired and collectible. While I appreciate your mention of how long you’ve been exhibiting — it gives me a general sense for your professionalism — in the end there’s no real correlation between the amount of time spent working and the ease with which one attains representation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, before you approach a gallery you must look at what you have already achieved and the work that is yet to come, and you must do it with a realistic and pragmatic eye. Bearing the above in mind, I recommend that you pursue a number of studio visits with curators, gallerists, art consultants, and other artists. This is where the notion of quality comes back into the picture. You can get feedback about your work, gauge its reception, and — if the response is positive — you can ask your visitor if she thinks you are ready to start reaching out to galleries. Make a list of all the art people you know in your area and start sending out invitations. The best resources you have for resolving this issue are probably right there in your address book. Good luck!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. All submissions are strictly confidential and become the property of Daily Serving. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your dilemma.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Happy New Year! For 2013, Help Desk is going to be published every other week to make time for my other art adventures. But there are always ideas I want to share that don’t require a whole column, so now Help Desk spreads the love on Twitter: @ArtHelpDesk.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When is an artist ready to approach galleries? I’ve been exhibiting my art for about 5 years with a couple decent solo shows and a few big sales. It’s not an extensive track record, but I’m dedicated and need to increase sales if I want to keep making art (I do!). I keep thinking I’m “almost” ready and don’t want to waste my time or the gallerists’ or risk making a poor first impression with them by jumping the gun. I’ve read different advice in books but still feel unsure about this important step. \u003c/b>\u003c/p>\n\u003cp>Nice spin on an old favorite! Usually the query is about \u003ci>how\u003c/i> to find a gallery, but equally weighty is the question of \u003ci>when\u003c/i>. Begin soliciting galleries before you’re ready and you’re likely to receive rejection after rejection as you waste your time on administrative tasks instead of making artwork. You’re right to think about the initial impression you make on a gallerist, too, since you risk being labeled a rank amateur. On the other hand, if you and your work are ready to start seeking representation, there’s no reason to hang back shyly. You’re unlikely to be discovered à la Lana Turner at the soda fountain — you need to get your work out there in front of people.\u003c/p>\n\u003cp>So how do you know when you’re ready? It’s going to come down to the work’s quality, your determination, and — for some galleries — your resume. Let’s start with the work: you will have a better response from gallerists if you present a body of high quality work that feels cohesive. A body of work doesn’t have to \u003ci>look\u003c/i> all the same (perhaps your studio practice has been dedicated to investigating different material forms of a particular concept, for example), but the individual pieces should have some clear commonalities. Quality is subjective and therefore trickier, and different gallerists will have various ideas of what it means. We’ll come back to the idea of quality in a moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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