Tuesday, August 22, 2023

7 Essential Pieces of Advice for Artists

Whenever I interview an artist for my blog, I always ask what their advice is for artists just starting out. When I asked Danna Fruetel (here's a link to her Artist Interview) she replied that she could write a book on the subject, and I replied with... That would be great!

A guest post written by Danna Fruetel. The views expressed are solely hers, and may not represent the views of Red Stone Art Studio.

Any advice for artists just starting out?

1. New artists must get out of their studios and meet the art centers and galleries in person. We live in Iowa, not California or New York. The owners and directors want the personal touch in Iowa. They want to meet you and talk about their business and learn about your art. 

This means you should be able to carry on a pleasant conversation. Also, remember to let them talk. They want to know that you are interested in what they are doing in their business. Ask for a tour and ask about community programs that they do. Do you feel that this gallery is a good fit for what you create? If this is a gallery that you feel good about become friends with the director. Visit them regularly. Offer to teach a workshop there. 

2. Be professional when presenting your creations. Also, make sure your creations look professional. If you desire to be taken seriously as an artist you need to look like a serious artist. Walk into every gallery with contact information, and social media information (i.e. website, Instagram, Facebook). Be sure your own appearance is pleasant. A brochure about you with images of your art is a wonderful tool. (see image) Have an artist's resume. Be on time for appointments. Artists have a reputation of being unreliable, don’t reinforce that opinion. 

Be sure when you show your art that it is displayed in a professional manner. I’ve been involved with many shows and more than once someone's piece has fallen apart due to a cheap frame. A nice frame can make all the difference in making the sale or not. 

3. If you don’t believe in your own self-worth and the value of your art then why should you expect an art gallery to believe in you? Confidence comes from inside you. Don’t expect someone else to give it to you. Galleries will hesitate to invest in you if they don’t feel they will make money out of the arrangement. They aren’t there to make you feel worthy. They are there to sell your art and make money. Artists forget that it’s a business too, not just a creative outlet. For a gallery, profit is the end goal. Many galleries are struggling now and you can help a lot just by being secure in yourself and the “product” you have produced. 

4. Discover who you are as an artist and define your style. Finding your niche in the art world can take years of searching. Give yourself permission to play with mediums. (see image) Look at a lot of others' art. What speaks to you? Narrow your focus bit by bit. Do what brings you the most joy. Within that bring your style out.

Styles change over the years. They should change as you change and grow in your medium. It grows boring to you and your audience when you continue to produce the same type of art year after year. 

5. Learn the “Business” of art. I know for many of you bookkeeping is not your thing. Learning how to handle money and doing your own advertising can save you money in the end. When I speak with young people who say they want to be artists I always recommend that they take business courses as they are getting their art degrees. I never discourage them from chasing their dreams. Add a bit of practical knowledge to that dream. 

6. Know how to price your work. There are many factors when pricing your art. You need to take a look at the area that you are selling in. You need to take into account your own skill level. A new painter can’t expect to get what a master painter gets. Learn to be honest with yourself about your skill level. Don’t ask friends and family to compare your work with a master's. Odds are they will say “You’re just as good as they are, you should get what they get”. It takes many years to build up to the skill level to demand a large price tag. 

7. Being around other artists who share the same passion for your chosen medium is vital. If there is a group for your medium join it and become involved. Get to know the masters of your medium. Their knowledge is a huge tool for you. Find those that you click with and become friends. Go to conferences and workshops for your medium. Become part of that community. These artists already have a lot in common with you. You need to make the first step towards them, they won’t make the first step towards you. 

There are groups for a lot of mediums. Within those groups, many of them have levels that you can work towards. Working towards these levels only helps with your resume and shows galleries that you are serious about the art you do. It also shows your peers that you value the medium and spend time working with it. 

In conclusion, it is your choice to be an artist. You stepped into it knowing that it’s not an easy road to travel. More than likely you are on your own to make it happen. Talk to the artists that you admire and ask them how they got to where they are. Learn to do things for yourself. Learn to speak up for yourself. Step out into the world and be proud of what you create. 

Tuesday, August 8, 2023

Our Trip to the Pappajohn Sculpture Park!

I find it confusing that "Artist" as a career is still discouraged for young people, when we use art and design to represent ourselves everyday. Who doesn't instantly recognize a 20-foot yellow "M" or a lowercase blue "f"? How about a little white ghost on a yellow background? Even our cities define and advertise themselves with their sculptures: like the cherry and spoon (Spoonbridge and Cherry) in Minneapolis, the Statue of Liberty in New York, and of course, the figure made of letters (Nomade) in Des Moines.

Nomade, 2007, painted stainless steel

We made the trip to the John and Mary Pappajohn Sculpture Park this summer, of which Nomade, by Jaume Plensa, is the crown jewel. I had only been there once before, and it was really neat to see it through the eyes of my young daughters. The sculpture is huge and hollow, and looks like it was pieced together with an assortment of letters. There’s a cement path that goes right up to and underneath it, which enables you to walk inside the sculpture. My girls loved searching among the letters to spell out their own names.

 
Panoramic awareness pavilion, 2013, glass, metal, light

Their favorite piece, hands down, was Panoramic awareness pavilion, by Olafur Eliason. It's a large circular structure made of numerous glass panels. Each panel is a single color, with mirrored edges. The colors are arranged in a rainbow gradient with a large light in the center. Sadly, we were there in the bright afternoon sun, so we didn't see it lit up.

Moonrise. east. january, 2005 and Moonrise. east. august, 2006, painted cast aluminum on steel plinth

I was pleasantly surprised when I made my way around a giant pair of bulbous sculptures that turned out to be heads! Moonrise. east. january and Moonrise. east. august by Ugo Rindinone, have an incredible hand-built texture to them - as opposed to some of the more refined, manufactured pieces (that's right, I'm talking about you, Robert Indiana!) I loved their whimsical, creepy expressions, but I don't think my children were particularly fond of the pair.

 
Post Balzac, 1990, cast bronze

Thinker on a Rock, 1997, bronze  and Ancient Forest, 2009, cast bronze

I'm not sure I have a favorite piece, but if I did it would be one of the next four: an upright coat, a contemplating rabbit, or one of the driftwood-looking horses. Post Balzac, by Judith Shea, is a bronze casting that looks like it is the coat belonging to an invisible man. It has an energy, waiting there, like it could be put back on and worn at any time. Thinker on a Rock, by Barry Flanagan, is a sculpture of a cartoony hare perched upon, you guessed it, a rock. The sculpture is made of bronze, and I think what attracts me to it is that it could easily be a 3D rendition of a children’s book character. The cast bronze horses, titled Ancient Forest, look like they are created from an assemblage of driftwood. I wouldn’t be surprised if they had just walked out of a fantasy story into the sculpture garden.

Love, 1966-1999, polychrome aluminum

Robert Indiana is one of my dad's favorite artists, so I couldn't pass up the chance to take a photo of one of his iconic LOVE sculptures. It never fails to amaze me when I get the chance to see artwork in person that I remember studying in art history.

Pumpkin (L), designed 2014 fabricated 2018, bronze

I was delighted to discover Pumpkin (L) by Yayoi Kusama as at the time of our trip, as I was only days away from completing the illustrations for "My Day at the Pumpkin Patch" (written by Kelli Heil.) I really like the clean, circular design of this piece, and if it was a more portable size I would love to have one in my house in the fall!

White Ghost, 2010, fiberglass

The last piece I took a photo of (there are plenty more sculptures at the park) was White Ghost by Yoshitomo Nara, which has its own Google Maps marker (impressive!) I really thought my girls would like this one, but my youngest said the face was scary. I think it was the overwhelming size of the piece that intimidated her the most. Made of white fiberglass, this sculpture also feels like a children’s book character come to life.
 

If you are in the area and have the chance to see the Pappajohn Sculpture Park. There are visitor guides available, as well as a cell phone tour. The sculpture park is an extension of the Des Moines Art Center, and more information about the art and the park can be found at DesMoinesArtCenter.org.