On Foot and In Love: Interview with Author Gary Kamiya
Have Art, Will Travel
Crazy Collector
Release the Press!
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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 helpdesk@dailyserving.com with questions. All submissions remain strictly confidential and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been with my gallery for about four years, and had two solo shows (and participated in a few group shows) with them. They are nice people and there have been some sales, but lately I’ve been thinking that it’s time to move on. Recently I’ve had some very encouraging studio visits with other art dealers, and I think one of them might ask me to join their roster. How do I break up with my current gallery without creating hard feelings? I would definitely be moving up in the world with the new gallery. \u003c/b>\u003c/p>\n\u003cp>Back in 2008, art critic \u003ca href=\"http://www.nytimes.com/2008/04/18/arts/design/18pace.html?ref=design\">Roberta Smith wrote\u003c/a>, “An overheated art market sets all kinds of things in motion. Big galleries with money to burn and multiple spaces to fill start circling smaller galleries, eyeing their most successful artists like the underdeveloped properties they sometimes are. Artists get itchy and think about moving up the gallery food chain. And boom or bust, even the friendliest, most mutually beneficial artist-dealer relationships can prove finite. They are outgrown or become stale. Suddenly, it’s time to move on.” And lucky you, to be in a position where you can pick and choose! Most artists I know would love to be in your shoes right now — and yet we all know that everything has its price. You may not be able to advance your career without incurring some hurt feelings. The question is perhaps not \u003ci>if\u003c/i> but \u003ci>how much\u003c/i>.\u003c/p>\n\u003cp>But, unless you’re being coy, it sounds as though you may be counting your proverbial chickens before they are even out of the shell. In advance of planning your great leap forward, I want you to read \u003ca href=\"http://dailyserving.com/2013/05/help-desk-ideal-representation/\">this Help Desk column from 2013\u003c/a>, in which artists talk about how to find a gallery that’s a good match. They offer lots of pertinent questions, such as, “Do you like and respect the people running the gallery? Do you trust them, feel that they understand your work, and that they are both interested in and capable of promoting it in a way that will advance your career? Do you feel that they understand the business, and have done well for the other artists that they represent? Do you know any of those artists, or have you talked with them about how they feel their career is going? Remember that you are entering into a business partnership with these people, possibly for an extended period of time. Do you have a clear sense of what your expectations and theirs are regarding this relationship?” Read through the advice and think very carefully about where you want to be, and with whom you want to be working. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cells.JPG\" style=\"margin-bottom: 10px;\">\u003cbr />John Divola, \u003ci>Cells, 87CA1\u003c/i>, 1987-9.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If you do get an offer and decide to move on, here are some tips: \u003c/p>\n\u003cp>• If you don’t already have one (and you should), make an inventory of all the works that are at your current gallery. List the title, size, medium, and date, and include a thumbnail image of the work if you can. You should have a copy of this, and your gallerist should have another. \u003c/p>\n\u003cp>• Review your gallery representation contract. Just kidding! Tragically, no one actually uses contracts; but they should, and this situation is exactly why. (On the off chance that you do have a well-written representation contract, it should spell out the terms of terminating your relationship.) \u003c/p>\n\u003cp>• Hurting someone’s feelings (never mind threatening their livelihood) is never easy unless you’re a jerk. You might be tempted to take the less-painful-for-you route and break the bad news at a distance, but don’t do it! No one wants you to put a career opportunity aside, but at the same time you want to be seen as an artist with whom it is good to do business, right up to the very end. Schedule a meeting with your current gallerist, perhaps after the gallery closes, or set up a lunch meeting. Here’s the hard part: you must be brave and tell your gallerist to her face that you are leaving. You must state it in the most diplomatic way possible. No emails, no texting, not even a phone call — be a person of strength and honor. Tell the truth if you’re asked about who solicited whom (you’d better believe the real story will come out anyway, so ‘fess up if you courted the new dealers). Stay calm if the conversation gets sticky. You must also remember to thank your gallerist profusely, because it’s unlikely that you’d be making a “move up” if you weren’t represented by her in the first place. Remember that this person has been working hard to promote and sell your artwork for four years. \u003c/p>\n\u003cp>• Negotiate a timeline for getting your work back. You don’t have to do it at this meeting, but you should do it very soon after. Get everything in writing (an email is fine). Are you going to pick up the artwork? Will it be delivered? Define the terms so that you both know where you stand. \u003c/p>\n\u003cp>• Write a proper thank-you note when all is said and done, even if your gallerist is mad at you. You can reiterate what you said at lunch, and be sure to stress how grateful you are. \u003c/p>\n\u003cp>In the end, no one can expect you to pass up an opportunity that would benefit your career. Of course, as with all relationships, personal feelings can complicate things somewhat. To quote gallerist \u003ca href=\"http://www.edwardwinkleman.com/2008/04/end-of-artist-gallery-relationship-from.html\">Edward Winkleman\u003c/a>, “Every dealer knows each of his/her artists personally, and the good ones do feel sorry when things don’t work out and try to ease the transition as best they can. Every artist understands that leaving their gallery will be difficult for them (it can cause the gallery to have very unhappy collectors who were on waiting lists and lots of unpleasant questions to answer all the way around), and the considerate artists do leave as gently as they can.” Good luck!\u003c/p>\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 helpdesk@dailyserving.com with questions. All submissions remain strictly confidential and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been with my gallery for about four years, and had two solo shows (and participated in a few group shows) with them. They are nice people and there have been some sales, but lately I’ve been thinking that it’s time to move on. Recently I’ve had some very encouraging studio visits with other art dealers, and I think one of them might ask me to join their roster. How do I break up with my current gallery without creating hard feelings? I would definitely be moving up in the world with the new gallery. \u003c/b>\u003c/p>\n\u003cp>Back in 2008, art critic \u003ca href=\"http://www.nytimes.com/2008/04/18/arts/design/18pace.html?ref=design\">Roberta Smith wrote\u003c/a>, “An overheated art market sets all kinds of things in motion. Big galleries with money to burn and multiple spaces to fill start circling smaller galleries, eyeing their most successful artists like the underdeveloped properties they sometimes are. Artists get itchy and think about moving up the gallery food chain. And boom or bust, even the friendliest, most mutually beneficial artist-dealer relationships can prove finite. They are outgrown or become stale. Suddenly, it’s time to move on.” And lucky you, to be in a position where you can pick and choose! Most artists I know would love to be in your shoes right now — and yet we all know that everything has its price. You may not be able to advance your career without incurring some hurt feelings. The question is perhaps not \u003ci>if\u003c/i> but \u003ci>how much\u003c/i>.\u003c/p>\n\u003cp>But, unless you’re being coy, it sounds as though you may be counting your proverbial chickens before they are even out of the shell. In advance of planning your great leap forward, I want you to read \u003ca href=\"http://dailyserving.com/2013/05/help-desk-ideal-representation/\">this Help Desk column from 2013\u003c/a>, in which artists talk about how to find a gallery that’s a good match. They offer lots of pertinent questions, such as, “Do you like and respect the people running the gallery? Do you trust them, feel that they understand your work, and that they are both interested in and capable of promoting it in a way that will advance your career? Do you feel that they understand the business, and have done well for the other artists that they represent? Do you know any of those artists, or have you talked with them about how they feel their career is going? Remember that you are entering into a business partnership with these people, possibly for an extended period of time. Do you have a clear sense of what your expectations and theirs are regarding this relationship?” Read through the advice and think very carefully about where you want to be, and with whom you want to be working. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cells.JPG\" style=\"margin-bottom: 10px;\">\u003cbr />John Divola, \u003ci>Cells, 87CA1\u003c/i>, 1987-9.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If you do get an offer and decide to move on, here are some tips: \u003c/p>\n\u003cp>• If you don’t already have one (and you should), make an inventory of all the works that are at your current gallery. List the title, size, medium, and date, and include a thumbnail image of the work if you can. You should have a copy of this, and your gallerist should have another. \u003c/p>\n\u003cp>• Review your gallery representation contract. Just kidding! Tragically, no one actually uses contracts; but they should, and this situation is exactly why. (On the off chance that you do have a well-written representation contract, it should spell out the terms of terminating your relationship.) \u003c/p>\n\u003cp>• Hurting someone’s feelings (never mind threatening their livelihood) is never easy unless you’re a jerk. You might be tempted to take the less-painful-for-you route and break the bad news at a distance, but don’t do it! No one wants you to put a career opportunity aside, but at the same time you want to be seen as an artist with whom it is good to do business, right up to the very end. Schedule a meeting with your current gallerist, perhaps after the gallery closes, or set up a lunch meeting. Here’s the hard part: you must be brave and tell your gallerist to her face that you are leaving. You must state it in the most diplomatic way possible. No emails, no texting, not even a phone call — be a person of strength and honor. Tell the truth if you’re asked about who solicited whom (you’d better believe the real story will come out anyway, so ‘fess up if you courted the new dealers). Stay calm if the conversation gets sticky. You must also remember to thank your gallerist profusely, because it’s unlikely that you’d be making a “move up” if you weren’t represented by her in the first place. Remember that this person has been working hard to promote and sell your artwork for four years. \u003c/p>\n\u003cp>• Negotiate a timeline for getting your work back. You don’t have to do it at this meeting, but you should do it very soon after. Get everything in writing (an email is fine). Are you going to pick up the artwork? Will it be delivered? Define the terms so that you both know where you stand. \u003c/p>\n\u003cp>• Write a proper thank-you note when all is said and done, even if your gallerist is mad at you. You can reiterate what you said at lunch, and be sure to stress how grateful you are. \u003c/p>\n\u003cp>In the end, no one can expect you to pass up an opportunity that would benefit your career. Of course, as with all relationships, personal feelings can complicate things somewhat. To quote gallerist \u003ca href=\"http://www.edwardwinkleman.com/2008/04/end-of-artist-gallery-relationship-from.html\">Edward Winkleman\u003c/a>, “Every dealer knows each of his/her artists personally, and the good ones do feel sorry when things don’t work out and try to ease the transition as best they can. Every artist understands that leaving their gallery will be difficult for them (it can cause the gallery to have very unhappy collectors who were on waiting lists and lots of unpleasant questions to answer all the way around), and the considerate artists do leave as gently as they can.” Good luck!\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am not trained as a visual artist — I hold my graduate degree in dance choreography and before grad school I worked primarily in live theatrical concert dance. However, in grad school my focus shifted and I started developing work in performance that should live in a gallery space. Now that I am out of school, I have a great new project in the works, but I have no idea how to make it happen! To get shows produced in dance is a complicated and nuanced procedure, but I at least understand the steps. I am totally at a loss on how to enter into the art world and negotiate a show. I’m not interested in getting the work into the “market” per se, so a for-profit gallery is probably not my best bet. Can you let me know some of the unspoken rules for approaching art spaces/museums with performance work? I want to make sure that I don’t seem tone deaf to the conventions of the form. If it were a concert show in a traditional theater, here’s how I’d approach it: I would narrow down a couple of producers, send them a press packet, invite them to rehearsals and in-progress showings to develop a relationship, and then finally just ask for a show. For people I already knew, I might do an exploratory email pitch: “I have this cool idea in development, would you be interested in talking?” \u003c/b>\u003c/p>\n\u003cp>Good question! You’re obviously motivated and organized, and also sensitive enough to understand that changing your approach and observing the rules of contemporary art spaces will serve your goals better than charging ahead with the protocols for pitching to traditional theaters. I sent your question to \u003ca href=\"http://www.ybca.org/programs\">Katya Min\u003c/a>, Curator of Public Programs at the \u003ca href=\"http://www.ybca.org/\">Yerba Buena Center for the Arts\u003c/a> in San Francisco, and she had a lot of good advice for you. To begin with, she says, “Whether or not you’re an established or an emerging artist, navigating the turbulent waters of the art world can be a taxing and largely intimidating process. Before elaborating on the areas that I would be conscious of, coming from a curator’s perspective, I will offer this relatively common sense advice: there are really no right or wrong approaches. Each curator is different, thus each will have a different method of seeking artists or projects. The approach I would recommend is actually not dissimilar from the approach you described for traditional theater, but with that said, I hope these tips will help guide you on your way.”\u003c/p>\n\u003cp>Katya’s wise counsel continues:\u003cbr />“\u003cb>Research:\u003c/b> Take the time to do your research by reading about potential venues, arts & culture blogs, and relevant publications. Do they have applications for an open call for artists? What type of artwork do they normally exhibit? Familiarizing yourself with the content and mission of a space will not only help you determine if your work would be a good fit, but also demonstrates your understanding of the space’s aesthetic and the kinds of work they (re)present. Often galleries and museums host special programs that involve temporary performative installations for exhibition openings, which is a great avenue for artists who are just starting out. Artists whose work is based in movement and/or conceptual performance often present as part of temporary live act projects at these openings.\u003c/p>\n\u003cp>“\u003cb>Network:\u003c/b> Create/find support networks amongst fellow artists. Artists can support each other by sharing information, artist open calls, and spreading good leads, etc. A good way to meet and engage with fellow artists is attending as many museums, gallery shows, openings, and events as you can; actively joining the art community is a valuable way to gain insight and friends.\u003c/p>\n\u003cp>“\u003cb>Show your work:\u003c/b> Take the time to create a body of work that is substantive and cohesive. When you’re ready, try them out at various settings. For instance, you can host pop-up installations in your home, your studio, and/or find public spaces that can conduce dialogue with your work, convene your artist community, and document your progress. Put together and participate in group shows as much as possible to build your portfolio and work exhibition history. Being active in your art community doesn’t stop within gallery walls — stay active online via newsletters, social media, or blogs.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-performance1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Theodora Skipitares, \u003ci>Skysaver\u003c/i>, 1980\u003c/p>\n\u003cp>“\u003cb>Reach out:\u003c/b> Once you have narrowed down which spaces and curators might be interested in your work, try to connect with those in your community who may have shown with them or know them well. Don’t be afraid to ask to be introduced via email and send a summative description of your work that includes either visuals or a short video that best reflects your current work. You can also use this opportunity to ask for a studio visit or informational meeting where you can share more in-depth information about your work. Get acquainted with a person before you email if possible. I get a lot of cold emails from artists and I don’t have the ability to email them back right away, and then sadly the emails get buried. However, if I have had a personal contact with them, I will at least email back to let them know that I will follow up.\u003c/p>\n\u003cp>“\u003cb>Persevere:\u003c/b> Once you are given a great opportunity, do your best to maximize the experience, as well as keep the good faith, reciprocity, and trust going. Many curators are interested in investing in artist’s careers and will continue to recommend your work to other curators once you develop a good rapport. \u003c/p>\n\u003cp>“\u003cb>Other tips:\u003c/b> Be mindful of the fact that museums and other exhibit spaces generally book programs a year or more in advance. Keep a polished and well organized artist website. Be responsive and flexible — curators are juggling multiple projects and deadlines often with limited budgets. Understand that most of the time, it’s not so much about whether your work is good enough but rather about timing, fit, and feasibility. Stay in touch and send updates. Keep making good work!” \u003c/p>\n\u003cp>Good luck! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am not trained as a visual artist — I hold my graduate degree in dance choreography and before grad school I worked primarily in live theatrical concert dance. However, in grad school my focus shifted and I started developing work in performance that should live in a gallery space. Now that I am out of school, I have a great new project in the works, but I have no idea how to make it happen! To get shows produced in dance is a complicated and nuanced procedure, but I at least understand the steps. I am totally at a loss on how to enter into the art world and negotiate a show. I’m not interested in getting the work into the “market” per se, so a for-profit gallery is probably not my best bet. Can you let me know some of the unspoken rules for approaching art spaces/museums with performance work? I want to make sure that I don’t seem tone deaf to the conventions of the form. If it were a concert show in a traditional theater, here’s how I’d approach it: I would narrow down a couple of producers, send them a press packet, invite them to rehearsals and in-progress showings to develop a relationship, and then finally just ask for a show. For people I already knew, I might do an exploratory email pitch: “I have this cool idea in development, would you be interested in talking?” \u003c/b>\u003c/p>\n\u003cp>Good question! You’re obviously motivated and organized, and also sensitive enough to understand that changing your approach and observing the rules of contemporary art spaces will serve your goals better than charging ahead with the protocols for pitching to traditional theaters. I sent your question to \u003ca href=\"http://www.ybca.org/programs\">Katya Min\u003c/a>, Curator of Public Programs at the \u003ca href=\"http://www.ybca.org/\">Yerba Buena Center for the Arts\u003c/a> in San Francisco, and she had a lot of good advice for you. To begin with, she says, “Whether or not you’re an established or an emerging artist, navigating the turbulent waters of the art world can be a taxing and largely intimidating process. Before elaborating on the areas that I would be conscious of, coming from a curator’s perspective, I will offer this relatively common sense advice: there are really no right or wrong approaches. Each curator is different, thus each will have a different method of seeking artists or projects. The approach I would recommend is actually not dissimilar from the approach you described for traditional theater, but with that said, I hope these tips will help guide you on your way.”\u003c/p>\n\u003cp>Katya’s wise counsel continues:\u003cbr />“\u003cb>Research:\u003c/b> Take the time to do your research by reading about potential venues, arts & culture blogs, and relevant publications. Do they have applications for an open call for artists? What type of artwork do they normally exhibit? Familiarizing yourself with the content and mission of a space will not only help you determine if your work would be a good fit, but also demonstrates your understanding of the space’s aesthetic and the kinds of work they (re)present. Often galleries and museums host special programs that involve temporary performative installations for exhibition openings, which is a great avenue for artists who are just starting out. Artists whose work is based in movement and/or conceptual performance often present as part of temporary live act projects at these openings.\u003c/p>\n\u003cp>“\u003cb>Network:\u003c/b> Create/find support networks amongst fellow artists. Artists can support each other by sharing information, artist open calls, and spreading good leads, etc. A good way to meet and engage with fellow artists is attending as many museums, gallery shows, openings, and events as you can; actively joining the art community is a valuable way to gain insight and friends.\u003c/p>\n\u003cp>“\u003cb>Show your work:\u003c/b> Take the time to create a body of work that is substantive and cohesive. When you’re ready, try them out at various settings. For instance, you can host pop-up installations in your home, your studio, and/or find public spaces that can conduce dialogue with your work, convene your artist community, and document your progress. Put together and participate in group shows as much as possible to build your portfolio and work exhibition history. Being active in your art community doesn’t stop within gallery walls — stay active online via newsletters, social media, or blogs.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-performance1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Theodora Skipitares, \u003ci>Skysaver\u003c/i>, 1980\u003c/p>\n\u003cp>“\u003cb>Reach out:\u003c/b> Once you have narrowed down which spaces and curators might be interested in your work, try to connect with those in your community who may have shown with them or know them well. Don’t be afraid to ask to be introduced via email and send a summative description of your work that includes either visuals or a short video that best reflects your current work. You can also use this opportunity to ask for a studio visit or informational meeting where you can share more in-depth information about your work. Get acquainted with a person before you email if possible. I get a lot of cold emails from artists and I don’t have the ability to email them back right away, and then sadly the emails get buried. However, if I have had a personal contact with them, I will at least email back to let them know that I will follow up.\u003c/p>\n\u003cp>“\u003cb>Persevere:\u003c/b> Once you are given a great opportunity, do your best to maximize the experience, as well as keep the good faith, reciprocity, and trust going. Many curators are interested in investing in artist’s careers and will continue to recommend your work to other curators once you develop a good rapport. \u003c/p>\n\u003cp>“\u003cb>Other tips:\u003c/b> Be mindful of the fact that museums and other exhibit spaces generally book programs a year or more in advance. Keep a polished and well organized artist website. Be responsive and flexible — curators are juggling multiple projects and deadlines often with limited budgets. Understand that most of the time, it’s not so much about whether your work is good enough but rather about timing, fit, and feasibility. Stay in touch and send updates. Keep making good work!” \u003c/p>\n\u003cp>Good luck! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>How valuable is an MFA these days and is it really worth the cost? I’ve spent the last 2 months researching schools and preparing applications for MFA programs in several different countries (my partner’s job might require me to study abroad). I would like the degree not because I am interested in teaching, but because I am interested in the intensity of a two-year program to cultivate solid research and focus on work amidst peers and access to faculty input. In some cases, however, the cost for international students is very high. I just took part in an artist residency that left me wondering: if I’m not that interested in teaching, is it really necessary to have the MFA or could I have comparable experience with multiple residencies and save the money? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>The answer to this question depends a lot on what kind of person you are. Do you like deadlines? Are you disciplined and self-motivated? If aliens were invading earth in a month, would you voluntarily do hundreds of pushups a day and build a tank out of junkyard cars in order to defeat them? Or are you like me, who would eat all the cookies I could put my hands on and then find a hole in which to quietly die? If you’d answer in the former, then perhaps you have the drive to create and execute an intense plan for self-education. \u003c/p>\n\u003cp>Here’s what the MFA is: two years of studio time interrupted by seminars, readings, papers, presentations, and bitch sessions with classmates over cheap drinks. It’s an artificial structure designed to cram as much as possible into your head in a very short time. Every day is intense and even though it is a scaffolded ordeal, it is still much more self-directed than the typical undergraduate experience. In an MFA program, you have to create and think very deeply about creating at the same time, and this (plus all the hangovers you’ll suffer) is what makes it completely exhausting. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-oneill.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Pat O’Neill, \u003ci> Foregrounds, \u003c/i>1979\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If you set out on your own, there are three main components to an MFA program that you’re going to have to try to replicate: studio time, coursework, and conversation. The first is easy if you’re at a series of residency programs, so let’s put this one aside.\u003c/p>\n\u003cp>The second component, coursework and research, is also not too difficult: try to obtain the syllabi for the seminars you might take at an MFA program (many professors put their syllabi online), and follow along; or you might look for online or distance-learning courses. If you opt to be on your own, you’re still going to have to spend some money on books and journals, and be aware that you won’t be replicating the actual experience of lectures and discussions unless you can make some kind of serious \u003ca href=\"http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek\">Zizek\u003c/a> book club. If you’re diligent and have access to materials you can educate yourself; but the downside of not being in an actual classroom is that you’re going to pronounce the names of all the theorists incorrectly.\u003c/p>\n\u003cp>The last part, the ongoing deep discussion that graduate school provides, is incredibly hard to replicate. Your peers at a residency program might be well educated and down to discuss theory and practice — or they might be using their residency time to take a vacation or get laid. You’ll have to find other ways to stimulate your intellect and get feedback on your work, and here’s where we circle around to diligence and motivation again. Will you have the confidence and drive to contact artists, writers, critics, and curators in your area to do studio visits? Do you have the administrative skills to contact these folks in advance if you are traveling to different residencies? Do you take rejection well?\u003c/p>\n\u003cp>If it’s intensity you want, then well-chosen residency programs can provide it. If you want an education, you can get most of the way there on your own by being disciplined and passionate. If you want to focus on discussion and critique, then you might consider another option, like a low-residency MFA or a self-created artists’ critique/study group. In the end, only you can answer the question about value and cost because there are too many variables (we haven’t even discussed access to facilities, or making contacts, or having serious emotional sustenance for your work), but I support your desire for an independent education that doesn’t put you in a financial abyss. Check out some related questions that I’ve answered for Help Desk \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2013/06/help-desk-getting-schooled/\">here\u003c/a>. Good luck!\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>How valuable is an MFA these days and is it really worth the cost? I’ve spent the last 2 months researching schools and preparing applications for MFA programs in several different countries (my partner’s job might require me to study abroad). I would like the degree not because I am interested in teaching, but because I am interested in the intensity of a two-year program to cultivate solid research and focus on work amidst peers and access to faculty input. In some cases, however, the cost for international students is very high. I just took part in an artist residency that left me wondering: if I’m not that interested in teaching, is it really necessary to have the MFA or could I have comparable experience with multiple residencies and save the money? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>The answer to this question depends a lot on what kind of person you are. Do you like deadlines? Are you disciplined and self-motivated? If aliens were invading earth in a month, would you voluntarily do hundreds of pushups a day and build a tank out of junkyard cars in order to defeat them? Or are you like me, who would eat all the cookies I could put my hands on and then find a hole in which to quietly die? If you’d answer in the former, then perhaps you have the drive to create and execute an intense plan for self-education. \u003c/p>\n\u003cp>Here’s what the MFA is: two years of studio time interrupted by seminars, readings, papers, presentations, and bitch sessions with classmates over cheap drinks. It’s an artificial structure designed to cram as much as possible into your head in a very short time. Every day is intense and even though it is a scaffolded ordeal, it is still much more self-directed than the typical undergraduate experience. In an MFA program, you have to create and think very deeply about creating at the same time, and this (plus all the hangovers you’ll suffer) is what makes it completely exhausting. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-oneill.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Pat O’Neill, \u003ci> Foregrounds, \u003c/i>1979\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If you set out on your own, there are three main components to an MFA program that you’re going to have to try to replicate: studio time, coursework, and conversation. The first is easy if you’re at a series of residency programs, so let’s put this one aside.\u003c/p>\n\u003cp>The second component, coursework and research, is also not too difficult: try to obtain the syllabi for the seminars you might take at an MFA program (many professors put their syllabi online), and follow along; or you might look for online or distance-learning courses. If you opt to be on your own, you’re still going to have to spend some money on books and journals, and be aware that you won’t be replicating the actual experience of lectures and discussions unless you can make some kind of serious \u003ca href=\"http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek\">Zizek\u003c/a> book club. If you’re diligent and have access to materials you can educate yourself; but the downside of not being in an actual classroom is that you’re going to pronounce the names of all the theorists incorrectly.\u003c/p>\n\u003cp>The last part, the ongoing deep discussion that graduate school provides, is incredibly hard to replicate. Your peers at a residency program might be well educated and down to discuss theory and practice — or they might be using their residency time to take a vacation or get laid. You’ll have to find other ways to stimulate your intellect and get feedback on your work, and here’s where we circle around to diligence and motivation again. Will you have the confidence and drive to contact artists, writers, critics, and curators in your area to do studio visits? Do you have the administrative skills to contact these folks in advance if you are traveling to different residencies? Do you take rejection well?\u003c/p>\n\u003cp>If it’s intensity you want, then well-chosen residency programs can provide it. If you want an education, you can get most of the way there on your own by being disciplined and passionate. If you want to focus on discussion and critique, then you might consider another option, like a low-residency MFA or a self-created artists’ critique/study group. In the end, only you can answer the question about value and cost because there are too many variables (we haven’t even discussed access to facilities, or making contacts, or having serious emotional sustenance for your work), but I support your desire for an independent education that doesn’t put you in a financial abyss. Check out some related questions that I’ve answered for Help Desk \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2013/06/help-desk-getting-schooled/\">here\u003c/a>. Good luck!\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I graduated from college about a year ago, and have been pursuing art passionately and persistently ever since. My work is well received and I’ve participated in shows, but I’m used to being generally unnoticed. When it dawned on me that ardor does not equal opportunity, I came to another blindingly obvious realization — I know virtually nothing about building a career as an artist past this point. How do all of these young, contemporary artists that I admire get to where they are now? My whole life is art. I’ve never had more faith in anything, and can’t see myself doing anything else. My point is that I am unacceptably clueless about how to reach an audience in a way that I would like to. I’m aware that being an artist isn’t a walk in the park, but right now I’m stuck in a rut. What do I need to do to keep moving forward? I don’t want to lose my spark because I’m in the dark. \u003c/p>\n\u003cp>\u003c/b> \u003c/p>\n\u003cp>I wish I could give you a fun and non-cynical pep talk along the lines of: \u003ci>Just work hard and the magic will happen!\u003c/i>, but you’ve already figured out that you can work your fingers to bloody nubs and still no one at Art Basel will know your name. Your question, though, is a good one: it’s the fundamental—perhaps-axiological query of the emerging artist living in the shadow of late-market capitalism: “I am passionate about art; how do I garner acclaim and money for my work?” And you’ll find any number of peppy answers if you poke around in art-career books, but my advice is that you keep these two things as far from each other as you can, because — and this is the really important part — \u003ci>you can only really control one of them\u003c/i>. \u003c/p>\n\u003cp>The point I’d like to make about control is central to your concern about how young contemporary artists got where they are now. These days, most young hotshots attended highfalutin’ MFA programs in New York or LA, where their work was seen by high-level gallerists and/or curators, some of whom were paid to take a look. Most of these artists had early market successes that were driven by a dealer who was willing to speculate on the value of their work. Many artists have been plucked from the deep, dark well of obscurity by a high-powered curator who put their work into a high-profile show at a major institution. When you weigh it in the balance, it turns out that these artists did not have much control over their careers beyond getting into top-notch schools and thereby having access to VIPs — someone else with money, influence, and power made it happen. I’m not trying to cast doubt on these artists’ relative talent or make pessimistic comparisons to the likelihood of you reaching your own goals, but it’s crucial that you understand that a rapid ascent to the dizzy heights of \u003ci>Artforum\u003c/i> Mountain is not in the power of the artist alone. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/11/vanLankveldAqua.jpg\" style=\"margin-bottom: 10px;\" alt=\"rezi van lenkveld aqua\" />\u003cbr />Rezi van Lankveld, \u003ci>Agua\u003c/i>, 2013\u003cbr />\u003c/center>\u003c/p>\n\u003cp>That said, it is absolutely possible to meet people who believe in your work and who will help you move your career forward. You can start by building yourself a website with crisp, professional images that convey exactly what your work is, with accompanying texts that briefly explain what and how and why you do what you do. You can invite curators and gallerists and writers to your studio to chat about the work. You can submit images to online and print publications that showcase the work of emerging artists. Those \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">art-career books\u003c/a> will tell you in great detail how you can do all this. You can also look at some previous Help Desk columns \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2012/07/help-desk-making-a-statement/\">here\u003c/a>.\u003c/p>\n\u003cp>But the spark I’m worried about is not the one that lives in public. Not to be too negative, but what happens if you suffer a year, or a decade, or a lifetime of having your work ignored by the art establishment? How will you maintain the flame of your faith in art? It’s essential that you put fortifications and safeguards into your practice so that navigating the vagaries of this shitty market-driven system doesn’t pulverize your psyche to a sour pulp. The most important thing you can do is to make loads of art friends — the real ones, not the competitive bullies — because it’s crucial to surround yourself with people who understand the process of being an artist and who will both hold your hand through bad times and celebrate with you in good ones. \u003c/p>\n\u003cp>You are right to point out that being an artist isn’t a walk in the park (unless that park is dark and cold, uphill both ways, with sinister whispers coming from behind the bushes); yet I hope you will find ways to sustain your passion. In the lowest of times, make sure to go see great art in person frequently, because it will fill you with wonder and remind you of why you became an artist in the first place. Looking at art and talking with your friends will also motivate you to keep working in the studio, which is indispensable for your mental health. You’re young, so your watchwords should be \u003ci>experiment\u003c/i> and \u003ci>expand\u003c/i> — tattoo these terms on your wrists if you must, but make sure to make this your mantra every time you set out to work. Above all, try to remember that building a career as an artist is not the same as \u003ci>being\u003c/i> an artist, and you can “move forward” in more ways than are recognized by the current gallery/biennial/museum system. Keep the faith, and good luck!\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I graduated from college about a year ago, and have been pursuing art passionately and persistently ever since. My work is well received and I’ve participated in shows, but I’m used to being generally unnoticed. When it dawned on me that ardor does not equal opportunity, I came to another blindingly obvious realization — I know virtually nothing about building a career as an artist past this point. How do all of these young, contemporary artists that I admire get to where they are now? My whole life is art. I’ve never had more faith in anything, and can’t see myself doing anything else. My point is that I am unacceptably clueless about how to reach an audience in a way that I would like to. I’m aware that being an artist isn’t a walk in the park, but right now I’m stuck in a rut. What do I need to do to keep moving forward? I don’t want to lose my spark because I’m in the dark. \u003c/p>\n\u003cp>\u003c/b> \u003c/p>\n\u003cp>I wish I could give you a fun and non-cynical pep talk along the lines of: \u003ci>Just work hard and the magic will happen!\u003c/i>, but you’ve already figured out that you can work your fingers to bloody nubs and still no one at Art Basel will know your name. Your question, though, is a good one: it’s the fundamental—perhaps-axiological query of the emerging artist living in the shadow of late-market capitalism: “I am passionate about art; how do I garner acclaim and money for my work?” And you’ll find any number of peppy answers if you poke around in art-career books, but my advice is that you keep these two things as far from each other as you can, because — and this is the really important part — \u003ci>you can only really control one of them\u003c/i>. \u003c/p>\n\u003cp>The point I’d like to make about control is central to your concern about how young contemporary artists got where they are now. These days, most young hotshots attended highfalutin’ MFA programs in New York or LA, where their work was seen by high-level gallerists and/or curators, some of whom were paid to take a look. Most of these artists had early market successes that were driven by a dealer who was willing to speculate on the value of their work. Many artists have been plucked from the deep, dark well of obscurity by a high-powered curator who put their work into a high-profile show at a major institution. When you weigh it in the balance, it turns out that these artists did not have much control over their careers beyond getting into top-notch schools and thereby having access to VIPs — someone else with money, influence, and power made it happen. I’m not trying to cast doubt on these artists’ relative talent or make pessimistic comparisons to the likelihood of you reaching your own goals, but it’s crucial that you understand that a rapid ascent to the dizzy heights of \u003ci>Artforum\u003c/i> Mountain is not in the power of the artist alone. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/11/vanLankveldAqua.jpg\" style=\"margin-bottom: 10px;\" alt=\"rezi van lenkveld aqua\" />\u003cbr />Rezi van Lankveld, \u003ci>Agua\u003c/i>, 2013\u003cbr />\u003c/center>\u003c/p>\n\u003cp>That said, it is absolutely possible to meet people who believe in your work and who will help you move your career forward. You can start by building yourself a website with crisp, professional images that convey exactly what your work is, with accompanying texts that briefly explain what and how and why you do what you do. You can invite curators and gallerists and writers to your studio to chat about the work. You can submit images to online and print publications that showcase the work of emerging artists. Those \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">art-career books\u003c/a> will tell you in great detail how you can do all this. You can also look at some previous Help Desk columns \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2012/07/help-desk-making-a-statement/\">here\u003c/a>.\u003c/p>\n\u003cp>But the spark I’m worried about is not the one that lives in public. Not to be too negative, but what happens if you suffer a year, or a decade, or a lifetime of having your work ignored by the art establishment? How will you maintain the flame of your faith in art? It’s essential that you put fortifications and safeguards into your practice so that navigating the vagaries of this shitty market-driven system doesn’t pulverize your psyche to a sour pulp. The most important thing you can do is to make loads of art friends — the real ones, not the competitive bullies — because it’s crucial to surround yourself with people who understand the process of being an artist and who will both hold your hand through bad times and celebrate with you in good ones. \u003c/p>\n\u003cp>You are right to point out that being an artist isn’t a walk in the park (unless that park is dark and cold, uphill both ways, with sinister whispers coming from behind the bushes); yet I hope you will find ways to sustain your passion. In the lowest of times, make sure to go see great art in person frequently, because it will fill you with wonder and remind you of why you became an artist in the first place. Looking at art and talking with your friends will also motivate you to keep working in the studio, which is indispensable for your mental health. You’re young, so your watchwords should be \u003ci>experiment\u003c/i> and \u003ci>expand\u003c/i> — tattoo these terms on your wrists if you must, but make sure to make this your mantra every time you set out to work. Above all, try to remember that building a career as an artist is not the same as \u003ci>being\u003c/i> an artist, and you can “move forward” in more ways than are recognized by the current gallery/biennial/museum system. Keep the faith, and good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "an_institutional_setting",
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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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Could you tell me the best way for a newcomer to select an appropriate art consultant in the first place? It appears to be almost impossible in this economy to get into a gallery without the proper help. I have just completed a series that would probably be better suited to an institutional setting, i.e. a winery or a business. How do I find someone to help me place this series?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Okay, so you have two issues: you want to “get into” a gallery (i.e., become a represented artist), and you want to find a permanent home for a series of works. The problem here is that you’re assuming these two goals have one solution: an art consultant; and I’m sorry to tell you that this is not how things work.\u003c/p>\n\u003cp>In all likelihood, an art consultant cannot help you become represented by a gallery. A consultant’s job is to place artwork with clients. Most consultants work with galleries, but the flow is almost always uni-directional: that is to say, the consultant gets work from a gallery, and not the other way around. But just to make sure my hunch was correct, I asked \u003ca href=\"http://outtherenyc.com/\">Maria Brito\u003c/a>, \u003ca href=\"http://outtherenyc.com/get-the-book/\">author\u003c/a> and \u003ca href=\"http://www.mariabrito.com/#/home/\">art advisor\u003c/a>, and an “authority on why, where, when and how to display and mix contemporary art… in any environment” (that’s from her bio) and this is what she said:\u003c/p>\n\u003cp>“As an art advisor, my company is set up to provide support to our clients (the collectors) in selecting the right pieces for their own collections. I try to understand my clients’ goals as much as possible and to work closely with them to reach their objectives. I work mostly with galleries that I trust and like and whose artists’ works I’m really interested in introducing to my clients. I’m also always meeting new galleries in art fairs or through invitations that they send. I’m always open to seeing new art and meeting new people, but I rarely place the work of an unrepresented artist directly from his/her studio; it has happened maybe a couple of times in the past four years. It is not a matter of talent or the quality of the works, it is mostly that my clients feel more comfortable dealing with a gallery and having that kind of back-up when spending money on art.”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Olowska1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Paulina Olowska, \u003ci>Cake\u003c/i>, 2010\u003cbr />\u003c/center>\u003c/p>\n\u003cp>“I understand that the contemporary art world has gotten very competitive for artists and that there are only so many galleries that can take them and seriously invest in their careers. Some galleries are open to submissions, others have directors who are always going on studio visits, and some others get artists right out of school. It all depends on the economic circumstances and the evolution of the market, but typically (because there are always exceptions) top galleries pay attention to graduates from top schools, artists who are already represented in other cities or by other galleries in the same city, or who, as self-taught artists, have developed something extraordinary.”\u003c/p>\n\u003cp>Lest this all seem like bad news and not at all a solution to your dilemma, let’s look on the bright side: you no longer have to track down a consultant to try to place your works. Instead, you can take another tack: if you think that your work is made for wineries, why not contact a few and ask who buys their art? Larger wineries might work with an art consultant, but chances are good that smaller and newer wineries do all their own buying. If you can find a winery or other business with a temporary exhibition space, pitch a show of your own work and perhaps you’ll end up having this series acquired by the institution.\u003c/p>\n\u003cp>In terms of finding a gallery, it’s true that the present economy sucks. But if you’re starting from scratch it’s going to be a while before you find representation anyway — we can all hope that the economy will pick up in the time that it will take you to do the necessary research and some serious legwork. If you’re new to the gallery game, I recommend that you start the process with \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">my advice here\u003c/a>. Also, pick up a copy of the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">Art/Work\u003c/a>, which will explain many of the important details of negotiating the commercial gallery world. And remember the words of Alexis Mackenzie, assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>: “…the work itself should always come first. Make strong work that you believe in, and the rest should follow.” Good luck!\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Could you tell me the best way for a newcomer to select an appropriate art consultant in the first place? It appears to be almost impossible in this economy to get into a gallery without the proper help. I have just completed a series that would probably be better suited to an institutional setting, i.e. a winery or a business. How do I find someone to help me place this series?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Okay, so you have two issues: you want to “get into” a gallery (i.e., become a represented artist), and you want to find a permanent home for a series of works. The problem here is that you’re assuming these two goals have one solution: an art consultant; and I’m sorry to tell you that this is not how things work.\u003c/p>\n\u003cp>In all likelihood, an art consultant cannot help you become represented by a gallery. A consultant’s job is to place artwork with clients. Most consultants work with galleries, but the flow is almost always uni-directional: that is to say, the consultant gets work from a gallery, and not the other way around. But just to make sure my hunch was correct, I asked \u003ca href=\"http://outtherenyc.com/\">Maria Brito\u003c/a>, \u003ca href=\"http://outtherenyc.com/get-the-book/\">author\u003c/a> and \u003ca href=\"http://www.mariabrito.com/#/home/\">art advisor\u003c/a>, and an “authority on why, where, when and how to display and mix contemporary art… in any environment” (that’s from her bio) and this is what she said:\u003c/p>\n\u003cp>“As an art advisor, my company is set up to provide support to our clients (the collectors) in selecting the right pieces for their own collections. I try to understand my clients’ goals as much as possible and to work closely with them to reach their objectives. I work mostly with galleries that I trust and like and whose artists’ works I’m really interested in introducing to my clients. I’m also always meeting new galleries in art fairs or through invitations that they send. I’m always open to seeing new art and meeting new people, but I rarely place the work of an unrepresented artist directly from his/her studio; it has happened maybe a couple of times in the past four years. It is not a matter of talent or the quality of the works, it is mostly that my clients feel more comfortable dealing with a gallery and having that kind of back-up when spending money on art.”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Olowska1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Paulina Olowska, \u003ci>Cake\u003c/i>, 2010\u003cbr />\u003c/center>\u003c/p>\n\u003cp>“I understand that the contemporary art world has gotten very competitive for artists and that there are only so many galleries that can take them and seriously invest in their careers. Some galleries are open to submissions, others have directors who are always going on studio visits, and some others get artists right out of school. It all depends on the economic circumstances and the evolution of the market, but typically (because there are always exceptions) top galleries pay attention to graduates from top schools, artists who are already represented in other cities or by other galleries in the same city, or who, as self-taught artists, have developed something extraordinary.”\u003c/p>\n\u003cp>Lest this all seem like bad news and not at all a solution to your dilemma, let’s look on the bright side: you no longer have to track down a consultant to try to place your works. Instead, you can take another tack: if you think that your work is made for wineries, why not contact a few and ask who buys their art? Larger wineries might work with an art consultant, but chances are good that smaller and newer wineries do all their own buying. If you can find a winery or other business with a temporary exhibition space, pitch a show of your own work and perhaps you’ll end up having this series acquired by the institution.\u003c/p>\n\u003cp>In terms of finding a gallery, it’s true that the present economy sucks. But if you’re starting from scratch it’s going to be a while before you find representation anyway — we can all hope that the economy will pick up in the time that it will take you to do the necessary research and some serious legwork. If you’re new to the gallery game, I recommend that you start the process with \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">my advice here\u003c/a>. Also, pick up a copy of the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">Art/Work\u003c/a>, which will explain many of the important details of negotiating the commercial gallery world. And remember the words of Alexis Mackenzie, assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>: “…the work itself should always come first. Make strong work that you believe in, and the rest should follow.” Good luck!\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a gallery in LES [the Lower East Side of New York City] and I want to fill it with great art and sell a lot and do cool things. The problem is that I cannot find artists to represent. How do I find them? \u003c/b>\u003c/p>\n\u003cp>Surprising as it may seem, I rarely get phony questions for \u003ci>Help Desk\u003c/i>; and when I do, they are fairly easy to spot and my policy is to ignore them (for the record: dead twin guy, I’m on to you). But you, dear reader, were kind enough to provide a link to your gallery’s website, and after a bit of poking around it does indeed appear that your query is not some sort of complicated hoax inspired by a combination of whiskey and boredom.\u003c/p>\n\u003cp>But after verifying your information, I confess that I am completely mystified. You have a gallery on the \u003ci>Lower East Side of Manhattan\u003c/i> and you don’t know where to find artists? How did this come to be? I mean, you have an art space in the ostensible center of the art world and yet no art to hang in it. This is a disturbing case of putting the office before the business, if you see what I mean.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Total Recall\u003c/i>, 2013\u003c/p>\n\u003cp>Nevertheless, here we are. You have a gallery. You need art. You don’t know where to find it. You wrote to me. Your position leaves me scratching my head in perplexity, but help you I must. What you need is an education, and beyond the next four hundred words it’s going to be entirely self-directed. I can lead you to water, but the drinking is up to you.\u003c/p>\n\u003cp>Obviously, you have money, so for a quick start I suggest that you go to all the art fairs you can find. Art fairs are like supermarkets for art: you’ll look at a ton of product that has minimal shadings of difference. Occasionally you will cross paths with art that does not look like all the other art. That is the artist you want to represent. Take a friend with you, because art fairs are exhausting and you need to debrief with someone at the end of each day.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Tracking the Thrill\u003c/i>, 2013\u003c/p>\n\u003cp>Go to all the galleries in Brooklyn and Red Hook and Gowanus. The bigger artists who are already represented in New York are not going to work with you yet, because you are a (well-meaning) amateur. Also, the most interesting things happen at the peripheries of cities. Keep your eyes on the margins, because artists often produce good work when they’re not in the spotlight. Ask for studio visits and look for artists who have a steady practice. Don’t waste your time with assholes.\u003c/p>\n\u003cp>Talk to big-name artists who live in New York. Take them out to coffee and ask them whose work you should be looking at. Many of these artists also teach, and they come into contact with lots of artists whose practices deserve attention. Your gallery is somewhat medium specific, so I suggest that you also get in touch with the faculty chairs of local universities that have a department in that medium. They will know students and other faculty members whose work you can look at. They also come into contact with artists who are visiting from other cities, and will be able to point you in some interesting directions. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Wild Dead\u003c/i>, 2013\u003c/p>\n\u003cp>There are a few other things you need to think about. First, there are some ways in which you can support artists beyond selling their work. If you want to do cool things you have to be willing to stick your neck out, and at a time when many artists are forced to move out of major U.S. cities because of rising costs, it falls to all of us to work together to keep the creative economy moving. Once you do acquire some artists, consider finding a way to fund projects that aren’t commercially viable. Also, to preserve your sanity, you need a peer group, so cultivate friendships with some other gallerists in and beyond your neighborhood. These new friends will have great tips and can also help you find artists. Finally, go out and buy yourself a copy of \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>‘s \u003ca href=\"http://www.amazon.com/How-Start-Run-Commercial-Gallery/dp/1581156642\">\u003ci>How to Start and Run a Commercial Gallery\u003c/i>\u003c/a>. Edward’s a straight shooter with lots of good advice, and the book should help you enormously. Good luck! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a gallery in LES [the Lower East Side of New York City] and I want to fill it with great art and sell a lot and do cool things. The problem is that I cannot find artists to represent. How do I find them? \u003c/b>\u003c/p>\n\u003cp>Surprising as it may seem, I rarely get phony questions for \u003ci>Help Desk\u003c/i>; and when I do, they are fairly easy to spot and my policy is to ignore them (for the record: dead twin guy, I’m on to you). But you, dear reader, were kind enough to provide a link to your gallery’s website, and after a bit of poking around it does indeed appear that your query is not some sort of complicated hoax inspired by a combination of whiskey and boredom.\u003c/p>\n\u003cp>But after verifying your information, I confess that I am completely mystified. You have a gallery on the \u003ci>Lower East Side of Manhattan\u003c/i> and you don’t know where to find artists? How did this come to be? I mean, you have an art space in the ostensible center of the art world and yet no art to hang in it. This is a disturbing case of putting the office before the business, if you see what I mean.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Total Recall\u003c/i>, 2013\u003c/p>\n\u003cp>Nevertheless, here we are. You have a gallery. You need art. You don’t know where to find it. You wrote to me. Your position leaves me scratching my head in perplexity, but help you I must. What you need is an education, and beyond the next four hundred words it’s going to be entirely self-directed. I can lead you to water, but the drinking is up to you.\u003c/p>\n\u003cp>Obviously, you have money, so for a quick start I suggest that you go to all the art fairs you can find. Art fairs are like supermarkets for art: you’ll look at a ton of product that has minimal shadings of difference. Occasionally you will cross paths with art that does not look like all the other art. That is the artist you want to represent. Take a friend with you, because art fairs are exhausting and you need to debrief with someone at the end of each day.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Tracking the Thrill\u003c/i>, 2013\u003c/p>\n\u003cp>Go to all the galleries in Brooklyn and Red Hook and Gowanus. The bigger artists who are already represented in New York are not going to work with you yet, because you are a (well-meaning) amateur. Also, the most interesting things happen at the peripheries of cities. Keep your eyes on the margins, because artists often produce good work when they’re not in the spotlight. Ask for studio visits and look for artists who have a steady practice. Don’t waste your time with assholes.\u003c/p>\n\u003cp>Talk to big-name artists who live in New York. Take them out to coffee and ask them whose work you should be looking at. Many of these artists also teach, and they come into contact with lots of artists whose practices deserve attention. Your gallery is somewhat medium specific, so I suggest that you also get in touch with the faculty chairs of local universities that have a department in that medium. They will know students and other faculty members whose work you can look at. They also come into contact with artists who are visiting from other cities, and will be able to point you in some interesting directions. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Wild Dead\u003c/i>, 2013\u003c/p>\n\u003cp>There are a few other things you need to think about. First, there are some ways in which you can support artists beyond selling their work. If you want to do cool things you have to be willing to stick your neck out, and at a time when many artists are forced to move out of major U.S. cities because of rising costs, it falls to all of us to work together to keep the creative economy moving. Once you do acquire some artists, consider finding a way to fund projects that aren’t commercially viable. Also, to preserve your sanity, you need a peer group, so cultivate friendships with some other gallerists in and beyond your neighborhood. These new friends will have great tips and can also help you find artists. Finally, go out and buy yourself a copy of \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>‘s \u003ca href=\"http://www.amazon.com/How-Start-Run-Commercial-Gallery/dp/1581156642\">\u003ci>How to Start and Run a Commercial Gallery\u003c/i>\u003c/a>. Edward’s a straight shooter with lots of good advice, and the book should help you enormously. Good luck! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am just not sure how my participation ranks along with my overall exhibition history. Also, benefit shows vary greatly in scope and prestige. With some, artists are carefully selected, and others — well, we simply add to the giant pot in order to be able to help out in what little way we can. So what (if any) is a suitable way to list auctions, charitable donations, or benefit shows on one’s CV? Do they go in the “Select Group Exhibitions” category? Do they need an asterisk of some kind? Do they get their own section? Or, do they stay out altogether? Furthermore, when panels or curators view resumes, do they view these things as positive qualities, or simply padding?\u003c/b>\u003c/p>\n\u003cp>The short answer is that there is not only one answer. There’s a bit of confusion about CVs and resumes, since the two terms are often used interchangeably. However, you might want to think about your CV as an all-encompassing master document that lists every show, residency, award — and yes, charity auction — that you’ve ever participated in. After all, CV is short for curriculum vitae, or “the course of one’s life,” and it’s a good idea to keep such a document for your future biographers so that they get the facts straight when they’re writing about your early years.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Your resume, on the other hand, is a document that usually has a prescribed length (“no more than two pages”) and \u003ci>should be tailored to the position for which you are applying\u003c/i>. I checked in with Bert Green of \u003ca href=\"http://www.bgfa.us/\">Bert Green Fine Art\u003c/a> in Chicago, and he also expressed this opinion:\u003c/p>\n\u003cp>“An artist’s exhibition resume is intended to give as complete a picture as possible of how widely and well the artist’s work is exhibited, and to demonstrate an involvement in and commitment to the art world. Some artists maintain two exhibition resumes, a comprehensive version with every single exhibition they have ever participated in, and a shorter version which is used publicly, to save space and emphasize quality. Generally the comprehensive version is not shared, but it is a good idea to maintain one as a document for posterity.”\u003c/p>\n\u003cp>Mr. Green continues: “That said, it is important to select the key exhibitions for the selected listings that would advance the artist’s career and prestige. I see no harm in listing any auction or benefit exhibitions under the group exhibition category, not as a separate category. However, the frequency and number of such listings should not dominate the list. I would try to keep them to no more than 25% of your total. Emphasize those events with art world connections, like museum or art organization nonprofit events. Panels and curators generally look for a mix of quality and variety when they regard your exhibition listings. Some may see donation events as padding or fill, but if the overall impression of the list is that of an artist who is engaged with their venues, and active, with multiple exhibitions, there is no down side to including them in moderation.”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon3.jpg\" style=\"width=\"500px; margin-bottom: 10px;\">\u003cbr />Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>It’s important to think very carefully about the people who are going to look at your resume and what their needs are. If you’re applying for a spot in an exhibition, then obviously you don’t want to look as if you’re desperately padding your resume, so a shorter but more impactful list is fine. Conversely, if you are applying for a job at an institution that depends on community engagement, you could create a section at the end of your resume to emphasize your commitment to public service. As one who has sat on hiring committees for education, I can tell you that, when all else is equal, a clear demonstration of civic responsibility often sets one candidate ahead of the others. \u003c/p>\n\u003cp>There are any number of good resources on resumes out there in Internetlandia, although use your common sense when perusing — one of the first documents I pulled up suggested that artists should “use a larger font size… use more spacing” as strategies for lengthening a brief resume. For the love of Duchamp, don’t do this! It’s an obvious tactic — and anyway you should be proud of what you \u003ci>have\u003c/i> done and not insecure about what you \u003ci>haven’t\u003c/i> done. One of the most comprehensive guidelines can be found on the \u003ca href=\"http://www.collegeart.org/guidelines/visartcv\">College Art Association’s website\u003c/a>, and it provides a general overview of resumes and CVs, along with formatting guidelines and some tips for tailoring. Check it out, and good luck! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am just not sure how my participation ranks along with my overall exhibition history. Also, benefit shows vary greatly in scope and prestige. With some, artists are carefully selected, and others — well, we simply add to the giant pot in order to be able to help out in what little way we can. So what (if any) is a suitable way to list auctions, charitable donations, or benefit shows on one’s CV? Do they go in the “Select Group Exhibitions” category? Do they need an asterisk of some kind? Do they get their own section? Or, do they stay out altogether? Furthermore, when panels or curators view resumes, do they view these things as positive qualities, or simply padding?\u003c/b>\u003c/p>\n\u003cp>The short answer is that there is not only one answer. There’s a bit of confusion about CVs and resumes, since the two terms are often used interchangeably. However, you might want to think about your CV as an all-encompassing master document that lists every show, residency, award — and yes, charity auction — that you’ve ever participated in. After all, CV is short for curriculum vitae, or “the course of one’s life,” and it’s a good idea to keep such a document for your future biographers so that they get the facts straight when they’re writing about your early years.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Your resume, on the other hand, is a document that usually has a prescribed length (“no more than two pages”) and \u003ci>should be tailored to the position for which you are applying\u003c/i>. I checked in with Bert Green of \u003ca href=\"http://www.bgfa.us/\">Bert Green Fine Art\u003c/a> in Chicago, and he also expressed this opinion:\u003c/p>\n\u003cp>“An artist’s exhibition resume is intended to give as complete a picture as possible of how widely and well the artist’s work is exhibited, and to demonstrate an involvement in and commitment to the art world. Some artists maintain two exhibition resumes, a comprehensive version with every single exhibition they have ever participated in, and a shorter version which is used publicly, to save space and emphasize quality. Generally the comprehensive version is not shared, but it is a good idea to maintain one as a document for posterity.”\u003c/p>\n\u003cp>Mr. Green continues: “That said, it is important to select the key exhibitions for the selected listings that would advance the artist’s career and prestige. I see no harm in listing any auction or benefit exhibitions under the group exhibition category, not as a separate category. However, the frequency and number of such listings should not dominate the list. I would try to keep them to no more than 25% of your total. Emphasize those events with art world connections, like museum or art organization nonprofit events. Panels and curators generally look for a mix of quality and variety when they regard your exhibition listings. Some may see donation events as padding or fill, but if the overall impression of the list is that of an artist who is engaged with their venues, and active, with multiple exhibitions, there is no down side to including them in moderation.”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon3.jpg\" style=\"width=\"500px; margin-bottom: 10px;\">\u003cbr />Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>It’s important to think very carefully about the people who are going to look at your resume and what their needs are. If you’re applying for a spot in an exhibition, then obviously you don’t want to look as if you’re desperately padding your resume, so a shorter but more impactful list is fine. Conversely, if you are applying for a job at an institution that depends on community engagement, you could create a section at the end of your resume to emphasize your commitment to public service. As one who has sat on hiring committees for education, I can tell you that, when all else is equal, a clear demonstration of civic responsibility often sets one candidate ahead of the others. \u003c/p>\n\u003cp>There are any number of good resources on resumes out there in Internetlandia, although use your common sense when perusing — one of the first documents I pulled up suggested that artists should “use a larger font size… use more spacing” as strategies for lengthening a brief resume. For the love of Duchamp, don’t do this! It’s an obvious tactic — and anyway you should be proud of what you \u003ci>have\u003c/i> done and not insecure about what you \u003ci>haven’t\u003c/i> done. One of the most comprehensive guidelines can be found on the \u003ca href=\"http://www.collegeart.org/guidelines/visartcv\">College Art Association’s website\u003c/a>, and it provides a general overview of resumes and CVs, along with formatting guidelines and some tips for tailoring. Check it out, and good luck! \u003c/p>\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. Submit your questions anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m a new arts administrator and I live in [a mid-sized city]. Through four years of art school here and my job I know many artists who live in [this city]. I started writing art reviews last year and all of a sudden I’m feeling pressure to write about my friends’ work. It’s not like they are asking me directly, but hints have been dropped. I have no problem reviewing work that I think is good, but the problem is that there are some people that I like very much but I don’t think their work is that great. How do I get out of reviewing the work that I don’t like, without losing my friends? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>This is a sticky situation indeed. You want to write about the artwork that you enjoy, but you also want to support the people you love; unfortunately, sometimes there’s not much overlap between these two groups in the big Venn Diagram of Life. Let’s review some of the ways you can negotiate this minefield without blowing up your friendships.\u003c/p>\n\u003cp>First, there’s the “it’s out of my hands” tactic, which is my personal favorite because someone else gets to play Bad Cop. If you’re publishing reviews, you ought to see if there’s an editorial policy already in place at the blog/newspaper/magazine(s) with whom you are working. The policy will spell out what you’re allowed to write about and what you’re not, and if you haven’t been presented with one yet, it can’t hurt to ask. Many editorial policies state that a writer cannot review the work of an artist with whom she has a personal relationship. Admittedly, this kind of thing is a double-edged sword: it removes all responsibility for not being able to review friends’ bad exhibitions, but it also eliminates the possibility of reviewing friends’ work that is good. The important thing is that your hands are tied; in either case, all you have to do is shrug and say, “It’s too bad I can’t write about this show.” End of story.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Ken Price, \u003ci>Desert Architecture\u003c/i>, 2005.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>On a related note, you may also have some easy outs due to your job as an arts administrator. For example, if you work for a granting institution, you might not be able to review shows that were made by artists receiving funding from your institution. Once again, check with the higher-ups at your place of employment to see if they have any guidelines (tacit or explicit) that they expect you to follow. Obviously, if you work in a gallery or museum you can’t review an exhibition there; again these affiliations take the decision-making power out of your hands. \u003c/p>\n\u003cp>Depending on how strict the conflict-of-interest policy is, you may not be able to write about work that you do like, so let’s talk about other ways that you can support your artist friends. Probably the most essential way to encourage and sustain your friends is to show up. It’s often difficult to accomplish because by Thursday night we’re all tired and busy and coming down with a head cold. Yet the most supportive thing to do is simply be present for openings, performances, screenings, gallery talks, etc. In an age where most artwork is available online, showing up is becoming a profound act. So be present, shake hands, and say congratulations when you can. \u003c/p>\n\u003cp>You can also help spread the word on opportunities like exhibitions, grants, and residencies. As an arts administrator, you probably see calls for entry and applications all the time, and you can post these to your Facebook page or tweet them, or even, if the opportunity seems tailor-made for someone in particular, send an email letting the artist know that you thought of her when you saw it. Again, this is a simple act, but it says, “I see you. I see your work. I want you to do well.” We all need to feel like someone is looking out for us from time to time. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Ken Price, \u003ci>Exalted Sanctuary\u003c/i>, 2004.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Bear in mind, too, that just because you don’t like a friend’s work doesn’t mean that it’s without merit. It’s possible that you can use your writing skills to support your friends in other ways, such as writing a short profile of the artist (very different from passing judgment in a review), or interviewing her about her process. You can also connect like-minded artists to help them expand their support networks, or possibly organize workshops through your employer that help artists with career skills. Writing a review may be the most prestigious way to validate an artist’s work, but other strategies may be more long-lasting and have more impact on the day-to-day exigencies of an art practice, so don’t discount your ability to help your friends — all of them — using vehicles other than the coveted review. \u003c/p>\n\u003cp>And what if there are no guidelines at any of the places where you work or publish your writing, and you can’t foist the decision to write or not to write onto anyone else? Well, perhaps it would be best to set a policy of not reviewing the work of any friends at all. But this can be a very burdensome restriction in a smaller town where everyone knows everyone, so if you can’t or won’t heed this counsel, at minimum you should draw the line at sex and money. Never review the exhibition of someone you are currently sleeping with or have slept with in the past — there are so many ways this could come back to haunt you. Likewise, if you own the artist’s work or have a financial relationship with the gallery, don’t write about the show; this is a classic case of conflict and even if your intentions are good, it will make you look bad. Whatever else you do, don’t put your own credibility on the line. \u003c/p>\n\u003cp>Saying this, I admit that some people will never be happy with your decision and at some point “friends” may drift out of your life when they don’t get what they want from you. Let them. I may sound like your mom, but the old chestnut about those people not being your real friends anyway certainly holds true here. You need never defend yourself or apologize for not reviewing a show, no matter what your relationships are to the artist or the gallery. If you’re working with integrity and helping artists in ways that show you appreciate their endeavors, then your real friends will have nothing but respect for you. Good luck! \u003c/p>\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. Submit your questions anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m a new arts administrator and I live in [a mid-sized city]. Through four years of art school here and my job I know many artists who live in [this city]. I started writing art reviews last year and all of a sudden I’m feeling pressure to write about my friends’ work. It’s not like they are asking me directly, but hints have been dropped. I have no problem reviewing work that I think is good, but the problem is that there are some people that I like very much but I don’t think their work is that great. How do I get out of reviewing the work that I don’t like, without losing my friends? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>This is a sticky situation indeed. You want to write about the artwork that you enjoy, but you also want to support the people you love; unfortunately, sometimes there’s not much overlap between these two groups in the big Venn Diagram of Life. Let’s review some of the ways you can negotiate this minefield without blowing up your friendships.\u003c/p>\n\u003cp>First, there’s the “it’s out of my hands” tactic, which is my personal favorite because someone else gets to play Bad Cop. If you’re publishing reviews, you ought to see if there’s an editorial policy already in place at the blog/newspaper/magazine(s) with whom you are working. The policy will spell out what you’re allowed to write about and what you’re not, and if you haven’t been presented with one yet, it can’t hurt to ask. Many editorial policies state that a writer cannot review the work of an artist with whom she has a personal relationship. Admittedly, this kind of thing is a double-edged sword: it removes all responsibility for not being able to review friends’ bad exhibitions, but it also eliminates the possibility of reviewing friends’ work that is good. The important thing is that your hands are tied; in either case, all you have to do is shrug and say, “It’s too bad I can’t write about this show.” End of story.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Ken Price, \u003ci>Desert Architecture\u003c/i>, 2005.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>On a related note, you may also have some easy outs due to your job as an arts administrator. For example, if you work for a granting institution, you might not be able to review shows that were made by artists receiving funding from your institution. Once again, check with the higher-ups at your place of employment to see if they have any guidelines (tacit or explicit) that they expect you to follow. Obviously, if you work in a gallery or museum you can’t review an exhibition there; again these affiliations take the decision-making power out of your hands. \u003c/p>\n\u003cp>Depending on how strict the conflict-of-interest policy is, you may not be able to write about work that you do like, so let’s talk about other ways that you can support your artist friends. Probably the most essential way to encourage and sustain your friends is to show up. It’s often difficult to accomplish because by Thursday night we’re all tired and busy and coming down with a head cold. Yet the most supportive thing to do is simply be present for openings, performances, screenings, gallery talks, etc. In an age where most artwork is available online, showing up is becoming a profound act. So be present, shake hands, and say congratulations when you can. \u003c/p>\n\u003cp>You can also help spread the word on opportunities like exhibitions, grants, and residencies. As an arts administrator, you probably see calls for entry and applications all the time, and you can post these to your Facebook page or tweet them, or even, if the opportunity seems tailor-made for someone in particular, send an email letting the artist know that you thought of her when you saw it. Again, this is a simple act, but it says, “I see you. I see your work. I want you to do well.” We all need to feel like someone is looking out for us from time to time. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Ken Price, \u003ci>Exalted Sanctuary\u003c/i>, 2004.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Bear in mind, too, that just because you don’t like a friend’s work doesn’t mean that it’s without merit. It’s possible that you can use your writing skills to support your friends in other ways, such as writing a short profile of the artist (very different from passing judgment in a review), or interviewing her about her process. You can also connect like-minded artists to help them expand their support networks, or possibly organize workshops through your employer that help artists with career skills. Writing a review may be the most prestigious way to validate an artist’s work, but other strategies may be more long-lasting and have more impact on the day-to-day exigencies of an art practice, so don’t discount your ability to help your friends — all of them — using vehicles other than the coveted review. \u003c/p>\n\u003cp>And what if there are no guidelines at any of the places where you work or publish your writing, and you can’t foist the decision to write or not to write onto anyone else? Well, perhaps it would be best to set a policy of not reviewing the work of any friends at all. But this can be a very burdensome restriction in a smaller town where everyone knows everyone, so if you can’t or won’t heed this counsel, at minimum you should draw the line at sex and money. Never review the exhibition of someone you are currently sleeping with or have slept with in the past — there are so many ways this could come back to haunt you. Likewise, if you own the artist’s work or have a financial relationship with the gallery, don’t write about the show; this is a classic case of conflict and even if your intentions are good, it will make you look bad. Whatever else you do, don’t put your own credibility on the line. \u003c/p>\n\u003cp>Saying this, I admit that some people will never be happy with your decision and at some point “friends” may drift out of your life when they don’t get what they want from you. Let them. I may sound like your mom, but the old chestnut about those people not being your real friends anyway certainly holds true here. You need never defend yourself or apologize for not reviewing a show, no matter what your relationships are to the artist or the gallery. If you’re working with integrity and helping artists in ways that show you appreciate their endeavors, then your real friends will have nothing but respect for you. Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gary Kamiya’s \u003ci>Cool Gray City of Love\u003c/i> is a walking tour, a fact-rich history, and a collection of honest, funny, and tender first-person anecdotes that all work together to create a beautifully subjective account of San Francisco. “Every writer,” explains Kamiya, “always describes, or creates, the city that is closest to his or her heart.” In the forty-nine chapters that take the reader from the geological creation of the peninsula to the Occupy Movement — and around the forty-nine square miles of the city’s physical terrain — Kamiya has created a detailed portrait of “the last place to have a drink before America stops and the endless ocean begins.” Kamiya and I talked on the phone last week while he walked around the city. \u003c/p>\n\u003cp>\u003cb>Bean Gilsdorf: \u003c/b> How did the project of writing \u003ci>Cool Gray City of Love\u003c/i> begin? \u003c/p>\n\u003cp>\u003cb>Gary Kamiya: \u003c/b> It’s been brewing in the back of my brain for much of my adult life. I’m a passionate lover of San Francisco and have written about it for \u003ca href=\"http://www.salon.com/\">Salon.com\u003c/a> and the \u003ca href=\"http://www.sfexaminer.com/\">\u003ci>San Francisco Examiner\u003c/i>\u003c/a>. I was always thinking about it and came up with a rough idea for it years before I did it. I was thinking about approaching the city from a variety of different perspectives — scientifically, sociologically — a Cubist approach, if you will. But a little over three years ago I decided it was time to do this project, and that’s when I hit upon the idea of each of the chapters being a separate essay on a different location.\u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> I love that you call it a “Cubist approach.” How did you decide on the structure of the book? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> I was trying to mix the perfect San Francisco cocktail. It’s a very experiential book, a combination of left brain and right brain. There’s an enormous amount of research and reporting and personal experience in the book, but there’s also a love of place that’s driving it at all times. I wanted to start at the Farallon Islands because they embody San Francisco’s wildest, most unmistakable quality: how riddled it is with nature. And from there I wanted to go into the grittiest, raunchiest, dirtiest part of the city: the Tenderloin. The book begins with geological time at the Farallons and after the Tenderloin we move into the earliest Indian inhabitants hunting megafauna at what is now the bottom of San Francisco Bay, so there is a chronological through-line. It’s just constantly interrupted by space. This is not a one-thing-after-another history; the book reflects the chaotic, effervescent, unpredictable quality that one actually has when walking through the city. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/06/kamiya500.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Author Gary Kamiya\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> And you bring that chronology all the way to the present, with the Occupy Movement and the second-wave dot-com bubble that’s happening now. You wrote, “Cities are kept alive by heterogeneity — the juxtaposition of radically different things in a small space.” Where do you think the city needs help right now? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> San Francisco is in danger of being flattened out by the extraordinary influx of money, especially with the tech sector just exploding here. At the same time, it’s neither desirable nor possible to stop a city from being prosperous — but it is possible to try to preserve the heterogeneity of it. Traditionally, quirkiness and individuality have been a huge part of the charm of this city and, optimistically, we don’t know what’s going to happen. The tech thing is a danger for any city as a place, because when communication itself is foregrounded — as it is in social media — \u003ci>place\u003c/i> moves into the background, and we need actual communities instead of disembodied ones. I think that the city needs to try to preserve its free spiritedness and its maverick qualities, but that doesn’t come from top-down planning, that comes from the people that live in the city. There’s reason to be concerned, but there’s also reason to be hopeful. \u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> One of the things that I really liked about the book was that you go from extremely subjective, experiential accounts to really specific, granular facts like how many commuters crossed the bay by ferry in 1913, or the price of washing a dozen shirts in 1849. And from that, I got a real sense of the city’s history, and also a sense that there must have been a lot that you left out. \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> Oh my god! Yeah, you should talk to my editors about that! I had 10,000 words on the Vigilance Committee, this extraordinary citizen militia in early San Francisco and one of the most controversial episodes in the city’s history. Actually, when I first approached the book, I was tilting toward more of the deep, granular history and my editor, Kathy Belden, said, “Look, I think you’re getting away from your original idea,” which was more mixed, more personal, more sui generis. Probably unconsciously I was pulling back from that, just because once you start writing like that, you’ve jumped off a bridge. I’ve written lots and lots of deeply personal essays, but writing a mix of the personal and factual is a trickier animal. So yeah, a lot of things, personal and historical, got left on the cutting room floor. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/06/11mission500.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr /> Jon Adams, illustration for Chapter 11, \u003ci>Cool Gray City of Love\u003c/i>, 2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> Does that mean we can expect another volume? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> It’s possible, I certainly have the material for it! I’ll probably always write about San Francisco, but whether I want to take on another book about it remains to be seen. [laughing] Maybe I can put a Director’s Cut into cyberspace! \u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> Last question: where are you now? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> I’m in a mini-park directly over the Broadway Tunnel, looking at the trees planted right behind a ventilator shaft. There’s some very cunning use of minute public space in San Francisco, and here on Broadway off of Hyde they have to have these ventilator shafts, but they’ve turned the lemons into lemonade by making a really small park, a little urban oasis. It’s not one of the dramatic ones like Glen Canyon, it’s a little respite — and San Francisco is full of such places.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gary Kamiya’s \u003ci>Cool Gray City of Love\u003c/i> is a walking tour, a fact-rich history, and a collection of honest, funny, and tender first-person anecdotes that all work together to create a beautifully subjective account of San Francisco. “Every writer,” explains Kamiya, “always describes, or creates, the city that is closest to his or her heart.” In the forty-nine chapters that take the reader from the geological creation of the peninsula to the Occupy Movement — and around the forty-nine square miles of the city’s physical terrain — Kamiya has created a detailed portrait of “the last place to have a drink before America stops and the endless ocean begins.” Kamiya and I talked on the phone last week while he walked around the city. \u003c/p>\n\u003cp>\u003cb>Bean Gilsdorf: \u003c/b> How did the project of writing \u003ci>Cool Gray City of Love\u003c/i> begin? \u003c/p>\n\u003cp>\u003cb>Gary Kamiya: \u003c/b> It’s been brewing in the back of my brain for much of my adult life. I’m a passionate lover of San Francisco and have written about it for \u003ca href=\"http://www.salon.com/\">Salon.com\u003c/a> and the \u003ca href=\"http://www.sfexaminer.com/\">\u003ci>San Francisco Examiner\u003c/i>\u003c/a>. I was always thinking about it and came up with a rough idea for it years before I did it. I was thinking about approaching the city from a variety of different perspectives — scientifically, sociologically — a Cubist approach, if you will. But a little over three years ago I decided it was time to do this project, and that’s when I hit upon the idea of each of the chapters being a separate essay on a different location.\u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> I love that you call it a “Cubist approach.” How did you decide on the structure of the book? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> I was trying to mix the perfect San Francisco cocktail. It’s a very experiential book, a combination of left brain and right brain. There’s an enormous amount of research and reporting and personal experience in the book, but there’s also a love of place that’s driving it at all times. I wanted to start at the Farallon Islands because they embody San Francisco’s wildest, most unmistakable quality: how riddled it is with nature. And from there I wanted to go into the grittiest, raunchiest, dirtiest part of the city: the Tenderloin. The book begins with geological time at the Farallons and after the Tenderloin we move into the earliest Indian inhabitants hunting megafauna at what is now the bottom of San Francisco Bay, so there is a chronological through-line. It’s just constantly interrupted by space. This is not a one-thing-after-another history; the book reflects the chaotic, effervescent, unpredictable quality that one actually has when walking through the city. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/06/kamiya500.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Author Gary Kamiya\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> And you bring that chronology all the way to the present, with the Occupy Movement and the second-wave dot-com bubble that’s happening now. You wrote, “Cities are kept alive by heterogeneity — the juxtaposition of radically different things in a small space.” Where do you think the city needs help right now? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> San Francisco is in danger of being flattened out by the extraordinary influx of money, especially with the tech sector just exploding here. At the same time, it’s neither desirable nor possible to stop a city from being prosperous — but it is possible to try to preserve the heterogeneity of it. Traditionally, quirkiness and individuality have been a huge part of the charm of this city and, optimistically, we don’t know what’s going to happen. The tech thing is a danger for any city as a place, because when communication itself is foregrounded — as it is in social media — \u003ci>place\u003c/i> moves into the background, and we need actual communities instead of disembodied ones. I think that the city needs to try to preserve its free spiritedness and its maverick qualities, but that doesn’t come from top-down planning, that comes from the people that live in the city. There’s reason to be concerned, but there’s also reason to be hopeful. \u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> One of the things that I really liked about the book was that you go from extremely subjective, experiential accounts to really specific, granular facts like how many commuters crossed the bay by ferry in 1913, or the price of washing a dozen shirts in 1849. And from that, I got a real sense of the city’s history, and also a sense that there must have been a lot that you left out. \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> Oh my god! Yeah, you should talk to my editors about that! I had 10,000 words on the Vigilance Committee, this extraordinary citizen militia in early San Francisco and one of the most controversial episodes in the city’s history. Actually, when I first approached the book, I was tilting toward more of the deep, granular history and my editor, Kathy Belden, said, “Look, I think you’re getting away from your original idea,” which was more mixed, more personal, more sui generis. Probably unconsciously I was pulling back from that, just because once you start writing like that, you’ve jumped off a bridge. I’ve written lots and lots of deeply personal essays, but writing a mix of the personal and factual is a trickier animal. So yeah, a lot of things, personal and historical, got left on the cutting room floor. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/06/11mission500.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr /> Jon Adams, illustration for Chapter 11, \u003ci>Cool Gray City of Love\u003c/i>, 2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> Does that mean we can expect another volume? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> It’s possible, I certainly have the material for it! I’ll probably always write about San Francisco, but whether I want to take on another book about it remains to be seen. [laughing] Maybe I can put a Director’s Cut into cyberspace! \u003c/p>\n\u003cp>\u003cb>BG:\u003c/b> Last question: where are you now? \u003c/p>\n\u003cp>\u003cb>GK:\u003c/b> I’m in a mini-park directly over the Broadway Tunnel, looking at the trees planted right behind a ventilator shaft. There’s some very cunning use of minute public space in San Francisco, and here on Broadway off of Hyde they have to have these ventilator shafts, but they’ve turned the lemons into lemonade by making a really small park, a little urban oasis. It’s not one of the dramatic ones like Glen Canyon, it’s a little respite — and San Francisco is full of such places.\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When is it a good investment to travel for your work? Recently I sold my largest piece yet to a collector out of my studio in Berlin while I was working there. I don’t have an extensive sales record and mostly subsist on grants, fundraising, and a day job. The collector is someone I have just met, but I feel that he has a good understanding of my work and has expressed interest in advocating my work to his friends and professional contacts, i.e. hosting dinners in his home to show the work, and putting me in touch with dealers he works with.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I returned to the States shortly after selling the piece, but since have been invited to participate in a group show at a commercial gallery in Berlin that will coincide with an art fair there. I plan to put my work in the show but I am conflicted over whether or not I should travel for the openings. It’s important to me to maintain good contact with this collector and gallerist, yet expensive to fly to Europe to do so. However, part of me thinks this expense is in some ways an investment in what I do and therefore I should do it. I have the money to do it, but it would be very expensive to me. What’re your thoughts?\u003c/b>\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-pretzel.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Nina Katchadourian, \u003ci>Pretzel Meteor\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Personally, I love to travel and can’t think of a better way to spend my money, so I’m biased in favor of you going. That said, I think it’s unwise to wipe out your savings or max out your credit cards. What you need is a cost-benefit analysis and a plan to work this scenario in your favor. Start with the cost part: look up the airfare for the dates that you’d be in Berlin and factor in your other transportation costs (bus, metro, taxi). Now add the money that you’d spend on a hotel (if you need one) and three meals a day. Depending on how long you’re going to stay and what kind of lifestyle you have, you’ll probably want to pad your total with another $100+ for taxes and miscellaneous stuff, in case you forget to pack socks or your favorite rash cream. Take that running total and add another sum: your lost wages for the time that you’re gone. Now you’ve got a fairly accurate figure of what it will cost you to go. How can you offset those costs? Well, as you’ve mentioned, you might see future benefits in increased sales, exposure to other collectors in Berlin, and contact with dealers. But given the vagaries of the art market, these are all hard to weigh with any certainty. Let’s consider some of your other options for at least breaking even if not truly coming out ahead — cue RuPaul’s \u003ca href=\"http://www.youtube.com/watch?v=z2wrU2tkl38\">“Supermodel (You Better Work)”\u003c/a>.\u003c/p>\n\u003cp>To travel on a budget, get pragmatic: if you’re going to be away for a week or more, you can likely rent out your living space while you’re gone. Perhaps a friend of a friend needs a place to stay? This might be a low-stress way to recoup some of your costs. You’ll have to do some some washing up when you get home (never a fun thing after a transatlantic flight), but you’ll recover some money and get your houseplants watered. You could sign up for a service like \u003ca href=\"https://www.airbnb.com/help/getting-started/how-to-host\">AirBnB\u003c/a>, or you could email your local associates and see if anyone has a cousin who’s been wanting to come for a visit.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-centaur.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Nina Katchadourian, \u003ci>Centaur (from the Creatures series)\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>In addition to a dinner with your collector, consider setting up other meetings while you’re in Berlin: with the permission of the gallery, you could use their space for “studio visits” — a way to meet art professionals and talk to them in person about your work. Obviously, you can’t invite other gallerists — that would be bad form — but you could talk with independent curators and I’m sure the gallery would be delighted to have you bring in more collectors. The group-show gallery and/or your collector could likely suggest a list of people to contact.\u003c/p>\n\u003cp>Are there travel grants for which you could apply? Spend a couple of hours researching granting institutions, especially local ones that might be set up to help an emerging artist extend her reach. If you’ve graduated recently, call your school and ask if they provide any travel funding for recent alumni (and you could offer to give a talk on the Berlin art scene when you get back). Make a list of any and all possible sources of art-travel revenue and pick up the phone. \u003ci>Work it, girl!\u003c/i>\u003c/p>\n\u003cp>How are you in front of an audience? You could give a slide lecture about your work (either at the gallery, at the collector’s house, or at another art space), or perhaps you have a particular skill that you could demonstrate at an art school — this might bring in a small stipend. You could also offer to do studio visits with art students, which sometimes pays handsomely. These activities won’t cover your costs completely, but together they could really help defray them. Additionally, meeting arts faculty and staff at Berlin schools will strengthen your network and you might make some new friends.\u003c/p>\n\u003cp>If none of these approaches appeal to you or fit your skill set, make sure you’re at least keeping your receipts and ticket stubs, because you should be writing off all of these expenses on your taxes, even if you don’t break even on the trip you are still pursuing revenue from a professional activity. But if you \u003ci>do\u003c/i> decide to try one or more of these options, remember to follow the basic rules: don’t be afraid to ask for what you need, be polite, and take a “no” with good grace. Viel glück! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When is it a good investment to travel for your work? Recently I sold my largest piece yet to a collector out of my studio in Berlin while I was working there. I don’t have an extensive sales record and mostly subsist on grants, fundraising, and a day job. The collector is someone I have just met, but I feel that he has a good understanding of my work and has expressed interest in advocating my work to his friends and professional contacts, i.e. hosting dinners in his home to show the work, and putting me in touch with dealers he works with.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I returned to the States shortly after selling the piece, but since have been invited to participate in a group show at a commercial gallery in Berlin that will coincide with an art fair there. I plan to put my work in the show but I am conflicted over whether or not I should travel for the openings. It’s important to me to maintain good contact with this collector and gallerist, yet expensive to fly to Europe to do so. However, part of me thinks this expense is in some ways an investment in what I do and therefore I should do it. I have the money to do it, but it would be very expensive to me. What’re your thoughts?\u003c/b>\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-pretzel.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Nina Katchadourian, \u003ci>Pretzel Meteor\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Personally, I love to travel and can’t think of a better way to spend my money, so I’m biased in favor of you going. That said, I think it’s unwise to wipe out your savings or max out your credit cards. What you need is a cost-benefit analysis and a plan to work this scenario in your favor. Start with the cost part: look up the airfare for the dates that you’d be in Berlin and factor in your other transportation costs (bus, metro, taxi). Now add the money that you’d spend on a hotel (if you need one) and three meals a day. Depending on how long you’re going to stay and what kind of lifestyle you have, you’ll probably want to pad your total with another $100+ for taxes and miscellaneous stuff, in case you forget to pack socks or your favorite rash cream. Take that running total and add another sum: your lost wages for the time that you’re gone. Now you’ve got a fairly accurate figure of what it will cost you to go. How can you offset those costs? Well, as you’ve mentioned, you might see future benefits in increased sales, exposure to other collectors in Berlin, and contact with dealers. But given the vagaries of the art market, these are all hard to weigh with any certainty. Let’s consider some of your other options for at least breaking even if not truly coming out ahead — cue RuPaul’s \u003ca href=\"http://www.youtube.com/watch?v=z2wrU2tkl38\">“Supermodel (You Better Work)”\u003c/a>.\u003c/p>\n\u003cp>To travel on a budget, get pragmatic: if you’re going to be away for a week or more, you can likely rent out your living space while you’re gone. Perhaps a friend of a friend needs a place to stay? This might be a low-stress way to recoup some of your costs. You’ll have to do some some washing up when you get home (never a fun thing after a transatlantic flight), but you’ll recover some money and get your houseplants watered. You could sign up for a service like \u003ca href=\"https://www.airbnb.com/help/getting-started/how-to-host\">AirBnB\u003c/a>, or you could email your local associates and see if anyone has a cousin who’s been wanting to come for a visit.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-centaur.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />Nina Katchadourian, \u003ci>Centaur (from the Creatures series)\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>In addition to a dinner with your collector, consider setting up other meetings while you’re in Berlin: with the permission of the gallery, you could use their space for “studio visits” — a way to meet art professionals and talk to them in person about your work. Obviously, you can’t invite other gallerists — that would be bad form — but you could talk with independent curators and I’m sure the gallery would be delighted to have you bring in more collectors. The group-show gallery and/or your collector could likely suggest a list of people to contact.\u003c/p>\n\u003cp>Are there travel grants for which you could apply? Spend a couple of hours researching granting institutions, especially local ones that might be set up to help an emerging artist extend her reach. If you’ve graduated recently, call your school and ask if they provide any travel funding for recent alumni (and you could offer to give a talk on the Berlin art scene when you get back). Make a list of any and all possible sources of art-travel revenue and pick up the phone. \u003ci>Work it, girl!\u003c/i>\u003c/p>\n\u003cp>How are you in front of an audience? You could give a slide lecture about your work (either at the gallery, at the collector’s house, or at another art space), or perhaps you have a particular skill that you could demonstrate at an art school — this might bring in a small stipend. You could also offer to do studio visits with art students, which sometimes pays handsomely. These activities won’t cover your costs completely, but together they could really help defray them. Additionally, meeting arts faculty and staff at Berlin schools will strengthen your network and you might make some new friends.\u003c/p>\n\u003cp>If none of these approaches appeal to you or fit your skill set, make sure you’re at least keeping your receipts and ticket stubs, because you should be writing off all of these expenses on your taxes, even if you don’t break even on the trip you are still pursuing revenue from a professional activity. But if you \u003ci>do\u003c/i> decide to try one or more of these options, remember to follow the basic rules: don’t be afraid to ask for what you need, be polite, and take a “no” with good grace. Viel glück! \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the second edition, we needed to have it produced from scratch, printed/mounted/framed. All the production was paid for by us as a courtesy. After informing the collector it would take a couple of weeks, we were recently bombarded with complaints from said collector that we were taking him for a ride and that he wanted a refund, because of how long it was taking to get the piece made professionally. Collector then went on a witch hunt, in which he called Amex to report us, tweeted that people should “beware” about our gallery, stormed into our gallery to scream at us, as well as abuse us in emails. We eventually decided to return the money, even though there is a clear ALL SALES FINAL disclosure on all our sale documents, just to get rid of the negative distraction. \u003c/b>\u003c/p>\n\u003cp>\u003cb>I guess my question here is, how do we avoid this in the future? We are a small gallery, and these fairs are more than we can afford, but we have to participate to try and sell the work. Any words of advice for our fledgling initiative? \u003c/b>\u003c/p>\n\u003cp>Allow me to rephrase your question: \u003ci>We run a small gallery. Recently, a would-be collector went bananas and things ended badly. How do we avoid dealing with a person like this in the future? \u003c/i> And here’s the short answer: if I knew how to keep clear of crazy people, I’d be a rich woman. But since the art world is filled with lunatics* — both loveable and malevolent — and complete avoidance probably isn’t an option unless you move to a hermit’s shack, let’s talk about the things you might do to circumvent a situation like this in your life to come. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari2.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Man with Blue Shape, \u003c/i> 1991.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>At the risk of seeming unsympathetic, I’m going to remind you that sometimes crazy takes two. Take a moment to assess the situation honestly. Ask yourself: \u003ci>Did this man walk away with all the information he needed?\u003c/i> In my experience, one of the main reasons that a person flies off the handle is that he has one set of expectations based on assumptions, and his associate has another set of expectations based on different assumptions. And this is the key part: their expectations may overlap — leading everyone to believe that they are on the same page — but the assumptions underlying those expectations are inconsistent, and sometimes that gets everyone into trouble. So I wonder: how effectively did you convey information to this man about his wait time? Did you casually mention that it would be “a couple of weeks” before he received his print? Or did you mutually agree on a delivery date, put it in writing, and then communicate any changes? If you say “a couple of weeks” as a loose estimate, and he hears “exactly two weeks,” you can see that this is where the problem is going to start. \u003c/p>\n\u003cp>And what happened when this guy started yelling at everyone? Did you greet his onslaught with a rabbit-in-the-headlights look (my go-to reaction), or did you talk to him calmly, go over the situation to see where the two of you went off the rails, and then work toward a mutually-agreed solution? If he thought you did something wrong, and you thought you did nothing wrong (all based on those pesky assumptions) then probably your first reaction was something along the lines of, \u003ci>We told you it was going to be a couple of weeks, you crazy bastard.\u003c/i> Most of us, when faced with an Anger Monster, just want to defend ourselves or flee. It’s a natural (and not necessarily unhealthy) feeling. I’m guessing that you did not say something really direct like, “I hear what you are saying and I understand why you are angry. It seems that we’ve had a miscommunication. What would you like to have happen next?”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Two Whales (with People), \u003c/i>2010.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But, for the sake of argument, let’s say you did all that. You clearly communicated all dates and attempted to work toward a solution in a very deep way, and this guy still went cuckoo. Ultimately you can only control your own actions, and some people will not be placated no matter how calm your voice is; you have to decide when to cut your losses, and that’s exactly what you did. The way to come out on top of this mess is to learn from this for next time, and to not dwell on it in an unhealthy way. \u003c/p>\n\u003cp>Let me be specific: \u003ci>unhealthy\u003c/i> would be three months of muttering to yourself over a nightly glass of whisky while mentally rehashing the ugliest parts of these interactions; \u003ci>healthy\u003c/i> would be analyzing the situation to assess the efficacy of your communications and figuring out a new strategy for the future. This takes conscious effort, honesty, and maybe some brainstorming with trusted colleagues. \u003c/p>\n\u003cp>Going forward, the best way to avoid this kind of conflict is to make sure that you are transmitting information as effectively as you can. Go over the interactions and see where you could have said or done something different, something that might have alleviated confusion. Go over your gallery paperwork and see where you could strengthen the language or add space for additional information that would clarify the gallery’s needs and timelines. And don’t forget to go to the bar with some fellow gallery owners and perform a dramatic re-telling for your (surely appreciative) audience — because time and catharsis heal all wounds. Good luck! \u003c/p>\n\u003cp>*Indeed, the world is filled with deranged people and there’s no shortage of them in any discipline.\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the second edition, we needed to have it produced from scratch, printed/mounted/framed. All the production was paid for by us as a courtesy. After informing the collector it would take a couple of weeks, we were recently bombarded with complaints from said collector that we were taking him for a ride and that he wanted a refund, because of how long it was taking to get the piece made professionally. Collector then went on a witch hunt, in which he called Amex to report us, tweeted that people should “beware” about our gallery, stormed into our gallery to scream at us, as well as abuse us in emails. We eventually decided to return the money, even though there is a clear ALL SALES FINAL disclosure on all our sale documents, just to get rid of the negative distraction. \u003c/b>\u003c/p>\n\u003cp>\u003cb>I guess my question here is, how do we avoid this in the future? We are a small gallery, and these fairs are more than we can afford, but we have to participate to try and sell the work. Any words of advice for our fledgling initiative? \u003c/b>\u003c/p>\n\u003cp>Allow me to rephrase your question: \u003ci>We run a small gallery. Recently, a would-be collector went bananas and things ended badly. How do we avoid dealing with a person like this in the future? \u003c/i> And here’s the short answer: if I knew how to keep clear of crazy people, I’d be a rich woman. But since the art world is filled with lunatics* — both loveable and malevolent — and complete avoidance probably isn’t an option unless you move to a hermit’s shack, let’s talk about the things you might do to circumvent a situation like this in your life to come. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari2.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Man with Blue Shape, \u003c/i> 1991.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>At the risk of seeming unsympathetic, I’m going to remind you that sometimes crazy takes two. Take a moment to assess the situation honestly. Ask yourself: \u003ci>Did this man walk away with all the information he needed?\u003c/i> In my experience, one of the main reasons that a person flies off the handle is that he has one set of expectations based on assumptions, and his associate has another set of expectations based on different assumptions. And this is the key part: their expectations may overlap — leading everyone to believe that they are on the same page — but the assumptions underlying those expectations are inconsistent, and sometimes that gets everyone into trouble. So I wonder: how effectively did you convey information to this man about his wait time? Did you casually mention that it would be “a couple of weeks” before he received his print? Or did you mutually agree on a delivery date, put it in writing, and then communicate any changes? If you say “a couple of weeks” as a loose estimate, and he hears “exactly two weeks,” you can see that this is where the problem is going to start. \u003c/p>\n\u003cp>And what happened when this guy started yelling at everyone? Did you greet his onslaught with a rabbit-in-the-headlights look (my go-to reaction), or did you talk to him calmly, go over the situation to see where the two of you went off the rails, and then work toward a mutually-agreed solution? If he thought you did something wrong, and you thought you did nothing wrong (all based on those pesky assumptions) then probably your first reaction was something along the lines of, \u003ci>We told you it was going to be a couple of weeks, you crazy bastard.\u003c/i> Most of us, when faced with an Anger Monster, just want to defend ourselves or flee. It’s a natural (and not necessarily unhealthy) feeling. I’m guessing that you did not say something really direct like, “I hear what you are saying and I understand why you are angry. It seems that we’ve had a miscommunication. What would you like to have happen next?”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Two Whales (with People), \u003c/i>2010.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But, for the sake of argument, let’s say you did all that. You clearly communicated all dates and attempted to work toward a solution in a very deep way, and this guy still went cuckoo. Ultimately you can only control your own actions, and some people will not be placated no matter how calm your voice is; you have to decide when to cut your losses, and that’s exactly what you did. The way to come out on top of this mess is to learn from this for next time, and to not dwell on it in an unhealthy way. \u003c/p>\n\u003cp>Let me be specific: \u003ci>unhealthy\u003c/i> would be three months of muttering to yourself over a nightly glass of whisky while mentally rehashing the ugliest parts of these interactions; \u003ci>healthy\u003c/i> would be analyzing the situation to assess the efficacy of your communications and figuring out a new strategy for the future. This takes conscious effort, honesty, and maybe some brainstorming with trusted colleagues. \u003c/p>\n\u003cp>Going forward, the best way to avoid this kind of conflict is to make sure that you are transmitting information as effectively as you can. Go over the interactions and see where you could have said or done something different, something that might have alleviated confusion. Go over your gallery paperwork and see where you could strengthen the language or add space for additional information that would clarify the gallery’s needs and timelines. And don’t forget to go to the bar with some fellow gallery owners and perform a dramatic re-telling for your (surely appreciative) audience — because time and catharsis heal all wounds. Good luck! \u003c/p>\n\u003cp>*Indeed, the world is filled with deranged people and there’s no shortage of them in any discipline.\u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What’s the best way to write a press release so that my show gets reviewed?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>If you poke around on the Internet, you’ll find that there’s a lot of information out there about how to write a press release. In fact, there is so much information on the subject that I recommend you start with a broad search to familiarize yourself with the fundamentals, which are too numerous (and somewhat boring) to cover here. Go do that now, and I’ll wait here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kv1.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>You’re back! You probably noticed that much of what you’ve gleaned from the web about press releases is still written as though you’re going to print one, stick it in an envelope, and mail it; bear in mind that tips such as “to ensure readability, your press release should be typed, double-spaced, on white letterhead” are a little outdated. There’s nothing wrong with an e-mailed press release, and that’s what I recommend. \u003c/p>\n\u003cp>Now that you’ve researched the basics and committed to the e-mail format, we can move on to the strategies that will actually get your press release read (you can follow the links back to the original sites): \u003c/p>\n\u003cp>\u003ca href=\"http://www.huffingtonpost.com/zach-cutler/press-release-tips_b_2120630.html\">Get right to the point\u003c/a> in the first paragraph. Because reporters are busy people, you must assume that they will only read the first sentence and then scan the rest — and even that’s a generous assumption. Get the message of your press release out quickly. Every important point should be addressed in the first few sentences. The subsequent paragraphs should be for supporting information.” \u003c/p>\n\u003cp>\u003ca href=\"http://www.entrepreneur.com/article/226011\">Don’t embellish\u003c/a> or hype the information. Remember, you are not writing the article, you are merely presenting the information and showing why it is relevant to that publication in hopes that they will write about it. \u003c/p>\n\u003cp>\u003ca href=\"http://www.24-7pressrelease.com/press_writing_tips.php\">Your goal is to communicate\u003c/a> your news using everyday language, so avoid overusing technical jargon. Not everyone understands your industry terminology as well as you do. Excess jargon will confuse your reader and may be enough for a journalist to pass over your release for one that is easier to understand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hdkv3.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>I also talked to \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8\">Mark Taylor\u003c/a>, who is my editor at KQED and the Senior Interactive Producer for Arts and Culture there as well as the editor of KQED’s daily Arts blog. I asked him what he usually pays attention to, and this is what he told me: \u003c/p>\n\u003cp> “I receive about fifty press releases a day.* Most have subject lines like ‘Press Opportunity.’ I’m press, so I open it, but I wish people would say what the subject of the document actually is. Why I should open your e-mail? I would like to see something like, ‘Artist Soandso solo show at Gallery X, June 11 to July 24.'” \u003c/p>\n\u003cp>Some of Mr. Taylor’s wisdom contradicts what you’ll find on many of the sites that give advice on writing; that’s because the tips on many sites are targeted to non-arts businesses. These sites may encourage you to start your release with a rhetorical question or an anecdote, but Mr. Taylor insists: “I need information over clever attention grabbers. I don’t need a weird, ‘catchy’ headline, I need facts — the who, what, when, and where instead of ‘Have you ever thought about stars?’ or ‘Everyone loves lollipops!'”** \u003c/p>\n\u003cp>“Tell me what are you promoting, when it is, and where it is happening. In the case of visual art, tell me what the artist does. A lot of times I’ll get a release that says, ‘Soandso is having a show at Gallery X.’ And this is followed by a history of Soandso’s exhibitions, but what I want to know is what is \u003cem>this \u003c/em>a show of? This is your opportunity to describe it.” Likewise, if you’re going to include information about your education, awards, or the history of the gallery, write a brief summary and put it farther down on the page. “I think press release writers add a lot of extra information because some journalists write stories from press releases. I understand that, but I’m not that kind of an assignment editor and we don’t do that at KQED. If you’re going to include a lot of information, I would prefer that it be farther down the e-mail.” \u003c/p>\n\u003cp>Your images are important, too. Make sure you’re including images that represent your work to its best advantage and aren’t too big to open quickly. If you format your e-mail with the images embedded, you might also want to attach them separately in case the image doesn’t properly open within the e-mail. Don’t assume that the recipient is using the same Internet browser or e-mail reader as you — theirs might withhold an embedded image (Gmail does this).\u003c/p>\n\u003cp>Should you send a generic press release or one that is more targeted to specific people? “The personalized, ‘Hey Mark, I want to bring this show to your attention’-type press release can work if you’re good at it, but it can also backfire. The personal approach only works if you’re genuinely being personal. You have to know what the person does and what he or she is interested in.”\u003c/p>\n\u003cp>Of course, there are no guarantees in life, and I can’t assure you that your show will be reviewed. However, if you take these suggestions to heart, your press release is more likely to be read, and that’s the first step toward getting a show reviewed. Some last tips: if you get really stuck, find a press release that you like and use its format as a guide for your own. And before you hit “send,” make sure your spelling and grammar are flawless; if you have a hard time spotting errors, give it to a sharp-eyed friend or try reading the release out loud.\u003c/p>\n\u003cp>Good luck! I’ll leave you with my favorite example, an informative, witty, and well-played release from \u003ca href=\"http://www.jackshainman.com/exhibition134.html\">a show at Jack Shainman Gallery\u003c/a> in 2012: \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/HiJack.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> Press release for \u003ci>HiJack!,\u003c/i> 2012.\u003c/p>\n\u003cp>*Mark has worked at KQED for 13 years; a conservative estimate will tell you that he’s read at least thirty-two thousand press releases.\u003c/p>\n\u003cp>**Now that I’m the managing editor of this site and newly on the receiving end of a slew of press releases, I concur. The “catchy” headline and rhetorical-question strategy is not intriguing; it is annoying. \u003c/p>\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. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What’s the best way to write a press release so that my show gets reviewed?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>If you poke around on the Internet, you’ll find that there’s a lot of information out there about how to write a press release. In fact, there is so much information on the subject that I recommend you start with a broad search to familiarize yourself with the fundamentals, which are too numerous (and somewhat boring) to cover here. Go do that now, and I’ll wait here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kv1.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>You’re back! You probably noticed that much of what you’ve gleaned from the web about press releases is still written as though you’re going to print one, stick it in an envelope, and mail it; bear in mind that tips such as “to ensure readability, your press release should be typed, double-spaced, on white letterhead” are a little outdated. There’s nothing wrong with an e-mailed press release, and that’s what I recommend. \u003c/p>\n\u003cp>Now that you’ve researched the basics and committed to the e-mail format, we can move on to the strategies that will actually get your press release read (you can follow the links back to the original sites): \u003c/p>\n\u003cp>\u003ca href=\"http://www.huffingtonpost.com/zach-cutler/press-release-tips_b_2120630.html\">Get right to the point\u003c/a> in the first paragraph. Because reporters are busy people, you must assume that they will only read the first sentence and then scan the rest — and even that’s a generous assumption. Get the message of your press release out quickly. Every important point should be addressed in the first few sentences. The subsequent paragraphs should be for supporting information.” \u003c/p>\n\u003cp>\u003ca href=\"http://www.entrepreneur.com/article/226011\">Don’t embellish\u003c/a> or hype the information. Remember, you are not writing the article, you are merely presenting the information and showing why it is relevant to that publication in hopes that they will write about it. \u003c/p>\n\u003cp>\u003ca href=\"http://www.24-7pressrelease.com/press_writing_tips.php\">Your goal is to communicate\u003c/a> your news using everyday language, so avoid overusing technical jargon. Not everyone understands your industry terminology as well as you do. Excess jargon will confuse your reader and may be enough for a journalist to pass over your release for one that is easier to understand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hdkv3.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>I also talked to \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8\">Mark Taylor\u003c/a>, who is my editor at KQED and the Senior Interactive Producer for Arts and Culture there as well as the editor of KQED’s daily Arts blog. I asked him what he usually pays attention to, and this is what he told me: \u003c/p>\n\u003cp> “I receive about fifty press releases a day.* Most have subject lines like ‘Press Opportunity.’ I’m press, so I open it, but I wish people would say what the subject of the document actually is. Why I should open your e-mail? I would like to see something like, ‘Artist Soandso solo show at Gallery X, June 11 to July 24.'” \u003c/p>\n\u003cp>Some of Mr. Taylor’s wisdom contradicts what you’ll find on many of the sites that give advice on writing; that’s because the tips on many sites are targeted to non-arts businesses. These sites may encourage you to start your release with a rhetorical question or an anecdote, but Mr. Taylor insists: “I need information over clever attention grabbers. I don’t need a weird, ‘catchy’ headline, I need facts — the who, what, when, and where instead of ‘Have you ever thought about stars?’ or ‘Everyone loves lollipops!'”** \u003c/p>\n\u003cp>“Tell me what are you promoting, when it is, and where it is happening. In the case of visual art, tell me what the artist does. A lot of times I’ll get a release that says, ‘Soandso is having a show at Gallery X.’ And this is followed by a history of Soandso’s exhibitions, but what I want to know is what is \u003cem>this \u003c/em>a show of? This is your opportunity to describe it.” Likewise, if you’re going to include information about your education, awards, or the history of the gallery, write a brief summary and put it farther down on the page. “I think press release writers add a lot of extra information because some journalists write stories from press releases. I understand that, but I’m not that kind of an assignment editor and we don’t do that at KQED. If you’re going to include a lot of information, I would prefer that it be farther down the e-mail.” \u003c/p>\n\u003cp>Your images are important, too. Make sure you’re including images that represent your work to its best advantage and aren’t too big to open quickly. If you format your e-mail with the images embedded, you might also want to attach them separately in case the image doesn’t properly open within the e-mail. Don’t assume that the recipient is using the same Internet browser or e-mail reader as you — theirs might withhold an embedded image (Gmail does this).\u003c/p>\n\u003cp>Should you send a generic press release or one that is more targeted to specific people? “The personalized, ‘Hey Mark, I want to bring this show to your attention’-type press release can work if you’re good at it, but it can also backfire. The personal approach only works if you’re genuinely being personal. You have to know what the person does and what he or she is interested in.”\u003c/p>\n\u003cp>Of course, there are no guarantees in life, and I can’t assure you that your show will be reviewed. However, if you take these suggestions to heart, your press release is more likely to be read, and that’s the first step toward getting a show reviewed. Some last tips: if you get really stuck, find a press release that you like and use its format as a guide for your own. And before you hit “send,” make sure your spelling and grammar are flawless; if you have a hard time spotting errors, give it to a sharp-eyed friend or try reading the release out loud.\u003c/p>\n\u003cp>Good luck! I’ll leave you with my favorite example, an informative, witty, and well-played release from \u003ca href=\"http://www.jackshainman.com/exhibition134.html\">a show at Jack Shainman Gallery\u003c/a> in 2012: \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/HiJack.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> Press release for \u003ci>HiJack!,\u003c/i> 2012.\u003c/p>\n\u003cp>*Mark has worked at KQED for 13 years; a conservative estimate will tell you that he’s read at least thirty-two thousand press releases.\u003c/p>\n\u003cp>**Now that I’m the managing editor of this site and newly on the receiving end of a slew of press releases, I concur. The “catchy” headline and rhetorical-question strategy is not intriguing; it is annoying. \u003c/p>\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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