Tuesday, February 26, 2019
Wednesday, February 20, 2019
Hello:
Here are my answers, hope help you with this
How much of your annual income comes from your art, and how much comes from other sources?
From art: +/- 1000.00 USD
From others +/- 24,0000 USD
For get an idea about inflation differences,
Average house: 80,000 USD to 100,0000 USD
Average lunch on restaurant: 5.00 USD
Average supermarket for 15 days (2 adult, 1 kid): 200.00 USD
What percentage of your time do you actually spend
working in your studio? And what do you spend the rest of your life doing to support that time?
During 24 hours
8 - 10 hours at works not related with art (stole at least 1 hour for art)
4 - 3 hours stuck in traffic
2 - 3 hours for art
Do you belong to any professional associations? If so, why? What are the advantages that membership provides you?
Do you belong to any professional associations? If so, why? What are the advantages that membership provides you?
Nope.
Do you belong to a wider artist's community, beyond any professional associations? What is that community, and why do you participate in it?
Do you belong to a wider artist's community, beyond any professional associations? What is that community, and why do you participate in it?
Nope.
Who is your audience? Who buys your work? Does your audience consist of one consistent demographic, or different demographics? How have you expanded your audience over time? How do you market your work?
Who is your audience? Who buys your work? Does your audience consist of one consistent demographic, or different demographics? How have you expanded your audience over time? How do you market your work?
Who buys my works are between 20 persons from US.
500 followers on twitter mosly from the US, but not profitable.
1000 followers in Amino, from spain and latin americas, half of them inactive and the rest are no profitable because are still in college or higth school.
What sort of education and/or training have you
pursued in your career as an artist? Was it worth it? What were the most valuable things you've taken away from your education or training?
As artist i no have formal education, i’ve learned using web’s tutorials.
Does your art practice have an impact on the way you do your taxes? If so, how?
Does your art practice have an impact on the way you do your taxes? If so, how?
No
Have any impact, the amount is so lower to be included in taxes.
What sorts of legal issues, if any, have you had to deal with in making or selling your art?
What sorts of legal issues, if any, have you had to deal with in making or selling your art?
The basic common uses, the art is available for be shared without modifies and giving credit.
Tuesday, February 12, 2019
GUIDES FOR ARTIST QUESTIONS
When you contact your interviewee, I'd recommend saying you'd like an interview of about 20 or 30 minutes. You can frame it like this:
"I am taking a class called Professional Practices, and part of the aim of the class is to think about how, practically, we will pursue art-making after we graduate from school. One of the projects is to interview an artist about their career -- how it has progressed, and how they have managed to balance their work and their life. The Professor has asked us to gather information about the practical, logistical and business side of art practice. I know that some artists are reluctant to get into the details of that aspect of their work, but if you would be available for a 20 to 30 minute interview on that topic, I'd be very grateful." Obviously you can make it more specific to your target interviewee.
And some questions you might want to add:
"I am taking a class called Professional Practices, and part of the aim of the class is to think about how, practically, we will pursue art-making after we graduate from school. One of the projects is to interview an artist about their career -- how it has progressed, and how they have managed to balance their work and their life. The Professor has asked us to gather information about the practical, logistical and business side of art practice. I know that some artists are reluctant to get into the details of that aspect of their work, but if you would be available for a 20 to 30 minute interview on that topic, I'd be very grateful." Obviously you can make it more specific to your target interviewee.
And some questions you might want to add:
How much of your annual income comes from your art, and how much comes from other sources?
What percentage of your time do you actually spend working in your studio? And what do you spend the rest of your life doing to support that time?
Do you belong to any professional associations? If so, why? What are the advantages that membership provides you?
Do you belong to a wider artist's community, beyond any professional associations? What is that community, and why do you participate in it?
Who is your audience? Who buys your work? Does your audience consist of one consistent demographic, or different demographics? How have you expanded your audience over time? How do you market your work?
What sort of education and/or training have you pursued in your career as an artist? Was it worth it? What were the most valuable things you've taken away from your education or training?
Does your art practice have an impact on the way you do your taxes? If so, how?
What sorts of legal issues, if any, have you had to deal with in making or selling your art?
Andrea Warren - Production Manager Wall-E
- What did you study in college and how do you feel that lead/helped you to get to where you work today?
- What are your basic responsibilities as a production manager on an animation film with a large company?
- What is your favorite part of your job?
Eiman Design Co. - Alex
- What exactly lead you to working in the digital arts?
- At what point did you start making our badges? Why that topic?
- How would you describe your style of designing and how long dod it takes you do get to the point where you are with your consistency?
Dan Hennah - Art Director of Lord of the Rings movies
- What did you study in college and how do you feel that lead/helped you to get to where you work today?
- What were your basic responsibilities on the LOTR films?
- What are your basic responsibilities as an artistic director.
Sunday, February 10, 2019
AnnaBunnell-Assignment 2
1.
Jonathan Kirk
Richard Notkin
2.
1-Are you doing something you enjoy? Did you ever plan on doing something different?
2-Did you have a good idea of what you wanted to be from a young age?
3-How did you combine art with working/supporting yourself? Has art become your main job?
4-Is art your main source of income ?
5-Do you feel like you've "Made It?".... in art, financial, life etc.
3.
When I was in my early teens I remember attending a youth activity with my church. We went to the art museum at Brigham Young University. There was a painting I came across of two chairs that were talking about the resurrection of Christ. I remember being interested in the piece not because of its religious aspects but because it could symbolize so much with an image of two chairs and colored sashes. It was an abstract thought that I could understand and that interested me.
I picked some quotes out of the articles that I felt I resinated. They relate to work and also are questions I am interested in.
The world of art and culture is a vast commons, one that is salted through with zones of utter commerce yet remains gloriously immune to any overall commodification. The closest resemblance is to the commons of a language: altered by every contributor, expanded by even the most passive user. That a language is a commons doesn’t mean that the community owns it; rather it belongs between people, possessed by no one, not even by society as a whole.
QUESTION 2. What is Lethem driving at here? What is he suggesting the artists' “imperative “ is? What "signs" do you particularly attend to? How do you interpret, translate or illuminate those signs?
People live differently who treat a portion of their wealth as a gift.
He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me.
The truth lies somewhere in the vast gray area between these two overstated positions.
Reincarnation of everyday materials
The demarcation between various possible uses is beautifully graded and hard to define, the more so as artifacts distill into and repercuss through the realm of culture into which they’ve been entered, the more so as they engage the receptive minds for whom they were presumably intended. Artists are no more able to control the imaginations of their audiences than the culture industry is able to control second uses of its artifacts. Art that matters to us — which moves the heart, or revives the soul, or delights the senses, or offers courage for living, however we choose to describe the experience — is received as a gift is received. Even if we’ve paid a fee at the door of the museum or concert hall, when we are touched by a work of art something comes to us that has nothing to do with the price. The daily commerce of our lives proceeds at its own constant level, but a gift conveys an uncommodifiable surplus of inspiration.
Even as the law becomes more restrictive, technology is exposing those restrictions as bizarre and arbitrary. When old laws fixed on reproduction as the compensable (or actionable) unit, it wasn’t because there was anything fundamentally invasive of an author’s rights in the making of a copy. Rather it was because copies were once easy to find and count, so they made a useful benchmark for deciding when an owner’s rights had been invaded. In the contemporary world, though, the act of “copying” is in no meaningful sense equivalent to an infringement — we make a copy every time we accept an emailed text, or send or forward one — and is impossible anymore to regulate or even describe.
QUESTION 4. This loops back, to a degree, on the first question, but broadens it from the instance of a "work of art" to artists themselves - please write at least one short paragraph about an artist who has influenced you - talk about what attracted you to them, and how you’ve adopted some approach, insight, process, or outlook they’ve expressed, while putting your own “spin” on it.
Joseph Beuys has become one of my biggest influences in art. I was attracted to the oddness of his work, his untraditional materials, and the way he made me questions how I see life and art simultaneously. The materials he uses as metaphors and I have adopted the symbolism In my own work. Using different forms as metaphors I try and ask a question about life and the structures instilled in our societies.
Jonathan Kirk
Richard Notkin
2.
1-Are you doing something you enjoy? Did you ever plan on doing something different?
2-Did you have a good idea of what you wanted to be from a young age?
3-How did you combine art with working/supporting yourself? Has art become your main job?
4-Is art your main source of income ?
5-Do you feel like you've "Made It?".... in art, financial, life etc.
3.
QUESTION 1. What art “converted” you to your art? What fragments or reverberations of that inspiration/dialogue show up in your work? Where was the "quotation" from, and how did you alter its meaning by putting it in a new context?
I picked some quotes out of the articles that I felt I resinated. They relate to work and also are questions I am interested in.
The surrealists believed that objects in the world possess a certain but unspecifiable intensity that had been dulled by everyday use and utility. They meant to reanimate this dormant intensity, to bring their minds once again into close contact with the matter that made up their world.
When damn near everything presents itself as familiar — it’s not a surprise that some of today’s most ambitious art is going about trying to make the familiar strange. In so doing, in reimagining what human life might truly be like over there across the chasms of illusion, mediation, demographics, marketing, imago, and appearance, artists are paradoxically trying to restore what’s taken for “real” to three whole dimensions, to reconstruct a univocally round world out of disparate streams of flat sights.
With no registration requirement, every creative act in a tangible medium is now subject to copyright protection: your email to your child or your child’s finger painting, both are automatically protected.
Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby.
When damn near everything presents itself as familiar — it’s not a surprise that some of today’s most ambitious art is going about trying to make the familiar strange. In so doing, in reimagining what human life might truly be like over there across the chasms of illusion, mediation, demographics, marketing, imago, and appearance, artists are paradoxically trying to restore what’s taken for “real” to three whole dimensions, to reconstruct a univocally round world out of disparate streams of flat sights.
With no registration requirement, every creative act in a tangible medium is now subject to copyright protection: your email to your child or your child’s finger painting, both are automatically protected.
Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby.
The world of art and culture is a vast commons, one that is salted through with zones of utter commerce yet remains gloriously immune to any overall commodification. The closest resemblance is to the commons of a language: altered by every contributor, expanded by even the most passive user. That a language is a commons doesn’t mean that the community owns it; rather it belongs between people, possessed by no one, not even by society as a whole.
QUESTION 2. What is Lethem driving at here? What is he suggesting the artists' “imperative “ is? What "signs" do you particularly attend to? How do you interpret, translate or illuminate those signs?
People live differently who treat a portion of their wealth as a gift.
He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me.
The truth lies somewhere in the vast gray area between these two overstated positions.
We're surround by signs; our imperative is to ignore none of them
Reincarnation of everyday materials
The demarcation between various possible uses is beautifully graded and hard to define, the more so as artifacts distill into and repercuss through the realm of culture into which they’ve been entered, the more so as they engage the receptive minds for whom they were presumably intended. Artists are no more able to control the imaginations of their audiences than the culture industry is able to control second uses of its artifacts. Art that matters to us — which moves the heart, or revives the soul, or delights the senses, or offers courage for living, however we choose to describe the experience — is received as a gift is received. Even if we’ve paid a fee at the door of the museum or concert hall, when we are touched by a work of art something comes to us that has nothing to do with the price. The daily commerce of our lives proceeds at its own constant level, but a gift conveys an uncommodifiable surplus of inspiration.
QUESTION 3. What would a healthy public domain look like? What would happen if artistic achievement was seen as a “cultural achievement” and not an singular individual expression?
Thinking clearly sometimes requires unbraiding our language.
Even as the law becomes more restrictive, technology is exposing those restrictions as bizarre and arbitrary. When old laws fixed on reproduction as the compensable (or actionable) unit, it wasn’t because there was anything fundamentally invasive of an author’s rights in the making of a copy. Rather it was because copies were once easy to find and count, so they made a useful benchmark for deciding when an owner’s rights had been invaded. In the contemporary world, though, the act of “copying” is in no meaningful sense equivalent to an infringement — we make a copy every time we accept an emailed text, or send or forward one — and is impossible anymore to regulate or even describe.
The cardinal difference between gift and commodity exchange is that a gift establishes a feeling-bond between two people, whereas the sale of a commodity leaves no necessary connection. These tokens establish the simplest bonds of social life, but the model they offer may be extended to the most complicated of unions — marriage, parenthood, mentorship. If a value is placed on these (often essentially unequal) exchanges, they degenerate into something else.
QUESTION 4. This loops back, to a degree, on the first question, but broadens it from the instance of a "work of art" to artists themselves - please write at least one short paragraph about an artist who has influenced you - talk about what attracted you to them, and how you’ve adopted some approach, insight, process, or outlook they’ve expressed, while putting your own “spin” on it.
Thursday, February 7, 2019
1.
Where I grew up you had to make your living doing a craft or trade. There are no big companies no fast food and no chain of any sort to work at. Most of the locals are artists. As an artists I would say I have good material understanding, and that comes from being raised by farmers, carpenters, fisherman and artists. The art of the island and unique craft and trade culture that the island runs off of converted me to my art. I don’t remember never not being a artists, wether that was helping my mom spin wool from the sheep, drawing or painting the panels of the chicken coop with very strange things.
As much as I love making fine art I sure do love being good at a craft as well (if you can separate them). Like making ceramic cups and jewelry to sell, and commission work wherever that finds me. Although I don’t put that on my website or in a gallery I love it just the same.
questions 2 and 3 to be continued....
4.) Forest Sincoff
Gard
What attracted me to Forests work was that it’s all about
play. He dives into thinking about how children we are taught to play then as
adults it is frowned upon. I think the transition between kids play and adult
play is fascinating. He starts off his artist statement with this quote-
“At some point as we get older, we are made to feel
guilty for playing. We are told that it is unproductive, a waste of time, even
sinful. The play that remains is, like league sports, mostly very organized,
rigid, and competitive. We strive to always be productive, and if an activity
doesn’t teach us a skill, make us money, or get on the boss’s good side, then
we feel we should not be doing it. Sometimes the sheer demands of daily living
seem to rob us of the ability to play.”
-Stuart Brown, founder of the National Institute of Play
(if interested look him up hes awesome)
-Stuart Brown, founder of the National Institute of Play
(if interested look him up hes awesome)
Most of my work up to this point as
been basically stagnant objects on a wall or in a room. That work has
not developed enough questions. They are what they are. I have done some
performance work both on this campus and at other gallery spaces. I have not
felt like I have done a successful performance piece. Now I am thinking maybe I
have been missing a piece, and that might be having the viewer take part. In
most pieces I have no idea why I do it I just have to. For example, one time I
layed out hundreds of little pieces of wet clay on the floor then danced and
hula hooped with wet paint on top of them for 2 hours. I felt the need to play.
But it is hard to pull of play in a gallery setting and I think he does it very
well. With my next pieces for CACCA I want achieve play not just for me but for
the viewers as well. The way Forest can organize a space for play is beautiful
even down to the colors he picks. The way that people interact and see his clay
objects is different than how we normally interact with them, and I want to
achieve a similar goal.
His play is obviously unique to him
like riding a clay skateboard, which is something I would never do. On the farm
we used to smash gone by sunflowers on the grated table until they exploded.
Something along those lines.
Forest Sincoff Gard ***** 1st choice
Rebecca Hutchinson
Meagan Gates or Sarah Catapano (similar)
Jason Briggs
Have you always made interactive work about play especially the transition from kid play to adult play?
What advice would you give me as I am about to graduate with a BFA in ceramics?
When did you know you were a artist?
Have you been able to support yourself just on your art?
Also a few that Hannah said ;)
Also a few that Hannah said ;)
Artists:
Lisa Clague
Kate McDowell
Beth Cavener
Kate Clarke
Questions
Describe your process/ practice. How do you juggle every day life with your practice?
How has your practice changed over the duration of your career?
How do you begin a piece? research tools?
How do you promote yourself as an artist?
Whats the best advice you have received as an artist?
Was there a pivotal moment in your career?
What artists have influenced you and who would you like to be compared to?
Lisa Clague
Kate McDowell
Beth Cavener
Kate Clarke
Questions
Describe your process/ practice. How do you juggle every day life with your practice?
How has your practice changed over the duration of your career?
How do you begin a piece? research tools?
How do you promote yourself as an artist?
Whats the best advice you have received as an artist?
Was there a pivotal moment in your career?
What artists have influenced you and who would you like to be compared to?
SOME MORE DATES FOR THE SEMESTER
*OPTIONAL-BUT-RECOMMENDED SHOWS
*FRI, Feb. 8: Carson City
5-7
Svea Ferguson, CCAI Courthouse Gallery
THURS, Feb. 14
5-7
Deborah Schafer Reception, Tahoe Gallery
*THURS, Feb 21: Reno
6-8
Meiasha Gray Reception
Holland Project, Serva Pool Gallery
THURS, Feb. 28
5-7
Latinos Who Lunch Reception, Garage Door Gallery
THURS, March 7
1pm and evening reception, 5-7
MAPR, Garage Door Gallery, plus Community College/High School show
(ADDITIONAL MAPR DATES:
You can begin install on Feb 28th
De-install by March 26; or March 25 if you're going to NCECA)
THURS, April 11
5-7
Anna Bunnell Reception, Tahoe Gallery
TUES, May 7
5:30
Nick Cahill Reception (*Nick might be given a different date), Tahoe Gallery
Student Art Show, Garage Door Gallery
Art Prom, Trashion Show
*FRI, Feb. 8: Carson City
5-7
Svea Ferguson, CCAI Courthouse Gallery
THURS, Feb. 14
5-7
Deborah Schafer Reception, Tahoe Gallery
*THURS, Feb 21: Reno
6-8
Meiasha Gray Reception
Holland Project, Serva Pool Gallery
THURS, Feb. 28
5-7
Latinos Who Lunch Reception, Garage Door Gallery
THURS, March 7
1pm and evening reception, 5-7
MAPR, Garage Door Gallery, plus Community College/High School show
(ADDITIONAL MAPR DATES:
You can begin install on Feb 28th
De-install by March 26; or March 25 if you're going to NCECA)
THURS, April 11
5-7
Anna Bunnell Reception, Tahoe Gallery
TUES, May 7
5:30
Nick Cahill Reception (*Nick might be given a different date), Tahoe Gallery
Student Art Show, Garage Door Gallery
Art Prom, Trashion Show
Tuesday, February 5, 2019
AnnaBunnell-Assignment 1
Assignment 1-
Anna Bunnell
Pro Practices
01-23-2019
1. Why do you make art?
There are many reasons that I make art. I enjoy the physical and technical aspects as well as conceptual. I make artwork both for myself but also for others. I would hope that someday maybe my art would create or require the viewer or participant to question more serious topics or social normalities.
2. What is the function or role of an artist in today's culture? (This is your personal take on this, it doesn't have to be an "objective" or comprehensive analysis)
Creators, people who are questioning the normal everyday and creating new topics of conversation in society
Visual Advocates/Communicators for change or justice.
3. Who are three working artists you can think of, who you might contact to interview about their professional lives? You will only be contacting one, but I want you to have a couple fallback options if your first couple choices end up being unavailable.
Jonathan Kirk
Richard Notki
Geoffrey Booras
Anna Bunnell
Pro Practices
01-23-2019
1. Why do you make art?
There are many reasons that I make art. I enjoy the physical and technical aspects as well as conceptual. I make artwork both for myself but also for others. I would hope that someday maybe my art would create or require the viewer or participant to question more serious topics or social normalities.
2. What is the function or role of an artist in today's culture? (This is your personal take on this, it doesn't have to be an "objective" or comprehensive analysis)
Creators, people who are questioning the normal everyday and creating new topics of conversation in society
Visual Advocates/Communicators for change or justice.
3. Who are three working artists you can think of, who you might contact to interview about their professional lives? You will only be contacting one, but I want you to have a couple fallback options if your first couple choices end up being unavailable.
Jonathan Kirk
Richard Notki
Geoffrey Booras
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