I sold some work through a gallery in London earlier this year. They have pretty much ghosted me after I sent them an invoice. I like a lot of the artists that the gallery shows, so I'm surprised by the sketchy behavior.

It's not that much money so I'm not sure if it's worth pursuing further.

Has anyone had any luck recovering payment from a gallery?

Hi, I’m a 27 yo bfa grad from UAL, 22’. I’ve pretty much stopped making work because I was trying figure life out and what not. Now I’m back in my home country and every time I’m about to apply for jobs I’m just at a standstill thinking that this job isn’t for me. based on my skills. I really can’t keep on going on like this tbh. I made a post a while back and it was really helpful.

Obviously I need to make a consistent source of income and get back into society but I know now that with just art / painting drawing alone it’s not possible

As artists, we're forced to wear many hats. We're supposed to be humble about the gifts the universe has bestowed upon us, but at the same time put our naked selves out on the stage and proclaim ourselves to be Artist. We put on exhibitions and shows, create websites and Instagram pages devoted to our work. We're our best champion and mostly our only champion.

The situation can often lead to a tortured flavor of narcissism or an over-inflated ego. "Look at me, I've created something! I'm a god!" Hundreds of thousands of us, all screaming into the void "Look at what I made!". And more of us shoved into the marketplace every year, all vying for a shrinking spotlight. It can be difficult to remain objective. Harder still, in the face of rejection, to keep creating.

So we exist in an odd gray area, somewhere between wallflower and egomaniac. What is your strategy to remain humble while still pursuing your craft? Do you feel like an imposter when you promote your work? Do you think you deserve a bigger share of the spotlight? Is it all about sales or is there something more pure with your practice?

How many hats to you wear? We create the work, we write about it, we photograph it, we promote it, we put the work in shows and then create some kind of marketing for the show, we push ourselves out into the tiny spotlight. It's a big job (if done correctly) and it comes with a lot of expense and a lot of hats. But if we don't do this, to the rest of the world we simply don't exist. We're forced to be some kind of psychological hybrid - a cloistered monk/celebrity - in order to survive.

Is it any wonder so many artists simply give up? What's your strategy?

Hi! Wondering if there are significant downsides to painting on linen on MDF panel vs stretched linen canvas? [does it devalue the work?] - I often see linen panels in galleries here in NYC so I imagine they're not entirely below the standard, not sure. Just starting to sell and don't want to be using wrong materials.

(also, in case they're OK, would love suggestions as to how to hang with minimal damage.)

The completist in me is searching for two books by the legendary artist Lutz Bacher that have been evading me: Do You Love Me? & (Smoke) Gets Inside Your Eyes. I have all the others from this series.

Can anyone help? Perhaps you have a copy languishing on a shelf and wouldn’t mind parting ways with it?!

So I've been browsing through some of the recently financed movies I came across exhibitions and events and most of them have multiple channels - but besides the shorter ones - I never came across longer productions that HAVE to be multiple channels. Like formally, almost all of the ones I saw usually show landscapes or b-roll on the other channels and I'm just left wondering why they just couldn't cut it into a one channel work...

Are there ones that specifically have to be on multiple channels (with channels I mean TVs/Projections/Displays/etc)?

I discovered her one year ago and I have very mixed feelings about her. If it comes to her paintings I like them. They are disturbing, interesting and they do something for me. I also like how she uses the light. Her style reminds me of Tamara Łempicka and John Currin. Sometimes I think proportions are off and not intentionally but I enjoy her art.

I've heard that she was dating Larry Gagosian and she is from wealthy family from Canada so she could afford expensive art school and "being a painter". There are two podcasts where she is speaking about her art. She is not very articulate. Sometimes I can't believe she painted all of her works. I've heard that she has many assistants.

Also she is the moment right now. Colaboration wirh Chanel and Dior, Vogue cover. Is it considered "tacky" in let's say "serious art world" or it is something other artists might be jealous of? of?https://open.spotify.com/episode/3nu5qKoFsLzT9MJsG7MNRJ

https://youtu.be/KXw6rSVZCHE?si=6DxbypeeU62mj9zC

As in doing bronce lost-wax casting and leaving in the feeding tubes

Is it even possible anymore?

I would love to network and meet more people, but the art residencies I find seem to cost obscene amounts of money and I'm not willing to pay for them because I feel it perpetuates that only the rich can progress and talented people are left behind.

Are there any residencies open to people outside the USA and based in, preferably, NYC that I can apply to as a non-American citizen and that don't cost obscene amounts of money?

(Getting views without alienating galleries)

I am a cheapskate; does anyone think the Art Newspaper is a worthwhile expenditure for reading in contemporary art?

i wanted to enroll in the Städelschule next year, so im preparing fot it this year and i got very confused with the application process.

if anyone knows what to put in the field of ,, course of studies( 1-3) ´´ that would be very helpful. thanks

I wonder what the effects will be?

Would new York galleries be hurt more than European ones?

Could Paris become more if a hub?

I visited the biennale for the first time last week, and unfortunately I was not able to see all the things I wanted to see. Does anyone know if there is a place I can find the documentaries/ videos that were shown by the different artists? I am especially interested in seeing the film Drama 1882 by Wael Shawky (Egypt).

Thanks

Ok so I’ve been out of undergrad for a few years now, I transferred into my program like 1/3 of the way in and I’ve forever felt behind or like I’m missing something because I didn’t get the foundational first few semesters of theory and reading and who’s who etc. also, my undergrad program was pretty anti painting so we spent essentially no time talking about it.

I spent my first few years after school in another industry out of necessity, and I now work for a painter as a studio assistant and have been slowly getting my practice back on track.

I’ve been making work that I’m enjoying but have been keeping to myself. I feel ready to start sharing the work, reaching out for studio visits and what not. I’m also making more of an effort to go to openings and engage with the scene. But I have this lingering insecurity that I’m just a step behind and and that the work will be received like a joke. I also don’t have any friends in the art scene, they’re mostly music/film people so any feedback from them, while I appreciate it, I don’t take super seriously bc they’re not looking from a critical lens.

Anyway sorry, to sum up my question. I’m wondering what ur foundational/ essential texts and what not, artists to dive into that are important (I’ve got a good understanding of modernism) I just feel when it comes to contemporary art and specifically painting, I’m just behind and it really effects my ability to take myself “seriously”

Thanks!!!!!

Help. I don’t know what to do or why this is happening but I’m feeling scared. This is my full time job and I don’t have a backup plan. I was lucky to be selling very consistently for the past several years and suddenly this year I’ve only managed to sell a few pieces despite having a lot of inquiries.

How do I find out why or what needs to change? And what do I do?

i'm currently a curator and looking to apply to MA programs. I have good practical experience - I know how to hang a work, write curatorial texts and install different mediums.

My main goal with an MA is to fill in research gaps and have a more holistic, interdisciplinary approach towards art and cultural studies.

Does anyone know which universities/departments/programs are good for this? English taught programs only unfortunately, but I'm open to going anywhere as long as the curriculum + environment being offered seem promising.

I suppose most programs would fall under the broad realm of liberal studies, culture studies, comparative literature, continental philosophy, etc. but i'm open to suggestions. Thank you!

Hello everyone. I live in an area subjected to earthquakes, and so I am getting interested in art dealing that type of temporalities (i.e: unpredictability, uncertainty). I have, in my mind, collapsable or unstable installations for examples, or preacirous equilibriums, etc... but it can be something different.

hi there, I am Canadian but have EU citizenship through my Polish passport. I'm wondering if there are any arts programs that are about 1 or 2 years, for either free or low cost for EU passports? I am overwhelmed with doing research on this and wondering if anyone has some recommendations!!!

Of course it depends on things like the size of the exhibition space, the scale of the artist's work, and how fast the artist completes pieces. But as a general rule, what do you think?

I did series at the beginning of my career that was well received critically and sales wise. I do love the series and understand other’s attachment to it but I have moved on to new things and have no desire to go backward. I sound like an ingrate here but how do I respond to people who wish I was still doing the old stuff?

Some of my galleries will automatically upload available work to Artsy after the exhibition has closed and they haven’t found buyers from their own collector base. Apparently very occasionally there might be a sale on Artsy.

Problem is that this broadcasts that the show wasn’t very successful in sales and gives the impression of supply overwhelming demand. It becomes offputting for any gallery that you might have upcoming shows with because they can’t tell their clients there’s scarce availability when last years inventory is all laid out in Artsy!

Some other galleries really frown on the practice because it’s too transparent and the optics are bad. But I’m finding it’s increasingly common practice, especially now the market is low and everyone is desperate. Is this practice doing damage to artists careers and reputations, and if so why do galleries do it to their artists for the sake of one or two occasional sales?

I’m sure people have different points of view on this, I’d love to hear your perspectives!

Alright party people, I will be finding myself having a day to do nothing in Miami on dec 6th, can a person do art Basel AND untitled in one day? I’ll take any hot tips, and lunch recommendations.

I went into art school with the hopes of becoming an illustrator, comics artist, or painter. My school had far more support in the area of photography and interdisciplinary work, i.e. "contemporary art" over traditional illustration or other crafts.

I found myself loving the research and theory, made lots of work that felt interesting and significant, formed good professional relationships, had shows, then graduated with a solid body of work right into the pandemic. Since then, I've really struggled with output and having a studio practice- I think my problem is fourfold.

One- certain (my) art schools' Deskilling of faculty and focus on theory isn't all bad, but it left me with only an approximate knowledge of a big handful of skills. Thus, when I get the urge to go to my studio and "make art", it's as though I'm starting from scratch every time- "what medium is suitable for this idea? Painting? Photography? Sculpture? In school I would have worked in performance aspects, but I have no audience!"

Two- Focusing on theory, "what the art is doing and saying", conceptuality, etc etc etc. is a great way to drive an idea straight out of the head and into the ground. I don't know how to bridge the gap between my 18 y/o self wanting to paint some trees; my 23 y/o self making IR camera animal-human body transmutation images with complimentary essay; and 27 y/o me both feeling like the tree painting will go nowhere, but no longer having the "worthwhile conceptual art ideas"

Three- it was really driven in to my head, by certain faculty or curriculum, that the work HAD to be sort of....politically virtuous. That is, every part considered, buttoned up, cited, underscored. What is the point of the painting of the trees? Where are the trees? Why paint Midwestern trees? What is the purpose of a tree painted by a white person? And so on. I don't think they necessarily meant for this to be taken this far, but I definitely internalized this "but did you consider the implications?" train of though.

Four, not unique to me- it's really hard to have a studio practice when you don't have tuition and due dates and such hanging over your head. This is the backbone of all of this, but can be addressed with time and diligence.

Thanks for reading if you got to the end. Is this a common feeling? How do you find your way back? I'd love any words on this, even if the input is that I'm overthinking it and just need to get to work.

My background is in fine art, and that’s certainly where my heart is. But when I’m not doing the gallery song and dance I’m drawing furries and selling commissions at conventions.

It’s two very different worlds, and it’s honestly a really interesting life to live. I’m curious how many others live such a life. It can be a struggle at times, sometimes the more casual art takes away from what I’d consider to be my professional work because well, the “casual art” brings in a loooot more money while being fun/low stress but less fulfilling. I also worry about the furry art being connected to me and discrediting/devaluing my other work. I keep these worlds very separate, so it’s unlikely, but still.

Anyways, it’s just a topic that interests me. Who else is living that Hannah Montana life with their art? What has your experience been?