Emerging neo-expressionist, post-pop, and multimedia artist Matt Smiley says he’s always been captivated by neo-expressionism’s raw power and profound emotion.

The movement, centered on individual perspective and emotional experience, has left an indelible mark on the art world and inspired countless artists—including Smiley—to delve deeper into the human condition and the vivid tapestry of our inner lives.

“In my artistic journey, I’ve found a kindred spirit in neo-expressionism,” Smiley says. “My works are characterized by automatic writings—subconscious thoughts filtering onto the canvas, symbolizing the intensity of emotions. Imaginative characters emerge, representing different facets of the human condition, echoing the expressionist ethos of channeling raw emotion and personal narrative into every brushstroke.

Parallel to his artistic pursuits, Smiley has directed impactful documentaries, including Highway of Tears in 2014, shedding light on the missing women along Highway 16 in northern British Columbia. The film, narrated by Nathan Fillion, premiered at the TIFF Human Rights Watch Film Festival and earned widespread acclaim.

In 2019, Smiley directed For Love, a documentary on Indigenous child welfare in Canada, narrated by Shania Twain. The film is available on Netflix in Canada and Amazon in the U.S. and U.K.

Through his work with charitable organizations like Human Rights Watch, UNICEF, and Boo2Bullying, Smiley strives to extend the reach of art’s transformative power, using it as a force for positive change. He believes art can connect people on a deeper level, helping to foster empathy and understanding. “I’m hopeful for the positive impact art can make in our world,” Smiley says.

The post Meet the Artist: Matt Smiley appeared first on Art Business News.

“Dragan gave us so much of himself in his art” Says Dragan’s wife, Gordana Yovanovich.

His contact with viewers guided him and he saw art as communication, shared experience, and desire for balance, in his original and elevated style.

An award-winning artist, he began his career as an architect in Sarajevo, Bosnia and Herzegovina, where he worked in that profession for eleven years. His artistic leanings meant he often presented his clients with paintings he did of city motifs to celebrate their new homes. In 1992, civil war broke out in Bosnia and Shex, who was born to seek balance and harmony and to construct, left for Italy.

In Italy his life took a dramatic turn, and he began to fully engage in an artistic career as well as studying the discipline. In Rome at a mass for artists in Santa Maria di Montesanto church on Piazza del Popolo, he met a community of artists who introduced him to art studies and the sfumato technique which later became his signature style.

After an architect from Pennsylvania, John Franklin, recognized Shex’s uniqueness and organized an art show for him in the United States, Shex became a full-time artist.

Shex moved to Toronto in 2000 and redesigned a small bungalow into a 3500 square-foot house and studio. This stunning conversion gives him a vast and spacious area to both create his evocative oil paintings and display his large works. Many mornings he is up before dawn painting in his singular style.

In 2015, Dragan Sekaric Shex won the Best Artist award at the Art Expo New York. He has shown his art at major art events such as The Artist Project in Toronto, Art Expo New York, Spectrum Miami, and The World of Art in Las Vegas. He has also had solo exhibitions in Toronto, Havana, Belgrade, and Rome.

He will be greatly missed. Our hearts go out to his wife, family, friends, and collectors.

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The echoes of World War II still reverberate through modern history. Hodermarsky, 19 when he went to war, was a veteran of the Western front and served in the 400th Armored Artillery Battalion—the so-called “Bastard Battalion” that was sent wherever artillery was needed and thus experienced combat 95% of the time during its 9-month tour across Europe. He earned accolades and honors for his valor, but the scars of war ran deep, and he returned home with severe and chronic post-traumatic stress disorder (PTSD) that would dog him throughout his life. Ultimately, it was in his art that Hodermarsky found solace and healing, creating over his lifetime a visual testament to the transformative power of creativity.

In the aftermath of war, art became a means of catharsis and redemption for Hodermarsky. His canvases became a sanctuary where he could give the unspoken and unspeakable form and substance. “He painted because he had to,” his daughter Maria says of her father. “It was his way of taking in the world, of responding. . . , of processing, of valuing. . . . His art allowed his many unspoken, unspeakable experiences to be metabolized and rendered on canvas. Through making art he could step away from those experiences—physical, existential, emotional—and move the experiences from formlessness to form.” Through the act of creation, he navigated those haunting memories and shaped them into tangible expressions that he could share with others, and exorcise, to some extent, the excruciating memories of agony and death on the battlefield. The result became a comprehensive body of work that invites viewers to witness the process of channeling traumatic experiences into creative expression. A deeply compassionate man with an often-outrageous sense of humor and an enormous capacity for love, he maintained a positive, sanguine view of life despite ample evidence to the contrary. “It is often heathen, sensual, and profane,” he wrote, “but it is optimistic.”

Hodermarsky’s artistic portfolio is unique in its nuanced exploration of diverse series, each serving as a chapter in his emotional and creative journey. A particularly poignant collection is his War Series, wherein Hodermarsky employs a gestural and borderline abstract style to encapsulate the stark realities of conflict. From political figures to troops navigating snow-covered terrains, to the carnage of battle, the series reveals the raw and often grisly reality of war, particularly for those who have never experienced combat.

What distinguishes Hodermarsky’s work is the unique transition between series, reflecting his personal evolution. The landscape pieces that follow the War Series exude tranquility, signaling a profound shift in the artist’s psychological terrain. Nature becomes his muse and ethereal landscapes emerge, capturing the essence of the artist’s journey toward healing. His explorations extend to a diverse array of subjects—animals, women, seated figures, politicians, and businessmen, as well as intimate self-portraits. His works range from the abstract to the purely figurative. His mastery is evident across various mediums, including oils, watercolors, and drawings, with each medium contributing to the rich tapestry of his narrative. In essence, Hodermarsky’s work offers viewers not only a glimpse into the harrowing realities of conflict but also an intimate experience of the artist’s profoundly positive, humanistic vision that endured over the course of his artistic evolution.

Beyond the canvas, Hodermarsky had a distinguished teaching career that spanned more than three decades. From 1957 to 1969, he shared his passion for art at the Cleveland Institute of Art; in the 1960s, he pioneered an art program for inner-city youth, promoting integration through arts education. His educational influence continued at Deerfield Academy in western Massachusetts from 1969 to 1989, where he founded the school’s art department, served as its department chair, and directed the school’s Hilson Gallery. During his tenure there, he mentored notable contemporary artists, including Stephen Hannock and Michael Tracy.

In an interview done for the book, Stephen Hannock recounts, “Dan never approached me as an artist. He never approached anyone as an artist. He related to everybody in his classes as young men trying to figure it all out. And it was during this time that art just happened for me. From that time until now, I have never met another artist who related to other artists that way: that if you embraced your complete life, art would happen on its own. . . . In 1970, Hodermarsky’s rooms were such nonjudgmental havens that everybody flocked to them. Whether they were taking an art class or not. . . . Dan listened better than any teacher I can remember. Dan was just glued to listen.”

He retired in 1989, and there followed 10 blissful years of painting on Deer Isle, Maine. He died working in his studio as he likely would have wished had he a choice. Reflecting his Slavic heritage, he surely would have enjoyed, and laughed heartily, that kielbasa was served at his memorial service.

The Artist Book Foundation (TABF), a nonprofit fine-art book publisher, has undertaken the task of chronicling Hodermarsky’s life and art in a forthcoming publication. The book, simply titled Hodermarsky, is more than a retrospective; it is an exploration of an artist’s triumph over adversity, a documentation of the interplay between war and creation, and a celebration of the complexities that define the human experience.

As the February 2024 release date of Hodermarsky approaches, TABF invites readers to step into the world of this extraordinary artist. The book, a carefully curated collection of his works and an intimate exploration of his life, will be a remarkable visual and emotional journey, further enriched by insightful essays from esteemed figures in the art world that offer nuanced perspectives on Hodermarsky’s creations. Additionally, an insightful essay from an art therapist adds a unique perspective, providing an examination of the emotional dimensions within Hodermarsky’s compelling body of work. This publication is an opportunity to witness the interplay of joy, reverence, and passion that defines Hodermarsky’s enduring legacy.

In a world where art often serves as a mirror to society, Hodermarsky’s story stands as a testament to the transformative power of creativity. From the battlefield to the classroom, from personal trauma to communal understanding, his life and art intertwine in a narrative that speaks to the resilience of the human spirit. Toward the end of his life he wrote, “I have loved people, the sea, sky, land, animals. I have avoided success and tried hard to recognize what love really is.”

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Author Bio: 

​​The Artist Book Foundation (TABF) is a nonprofit art book publisher that celebrates artists’ lives and work through publications, related exhibitions, and public programs. TABF works collaboratively with artists, museum curators, art historians, and collectors to develop catalogues raisonnés, monographs, surveys, and exhibition catalogues. It is dedicated to preserving and celebrating the artistic legacy of acclaimed as well as underrepresented artists. With a focus on producing artist-centered publications that delve into the lives and works of these remarkable individuals, TABF plays a vital role in fostering appreciation for the arts and their lasting impact on culture and society. Additionally, TABF’s book donations program provides access to the arts to the widest audience possible by delivering thousands of copies of their publications to underserved public libraries, schools, and prisons across the country.

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Rediscovering the Roots of Artistic Progress:

Throughout history, artists have led the charge in embracing scientific and technological advancements. Be it the adoption of newly discovered pigments or the pioneering use of optical devices like the camera obscura and lucida, artists have consistently sought inventive methods to produce realistic and captivating masterpieces. In the past, these developments were lauded and adopted by renowned artists.

Before the advent of cameras, the only means of capturing someone’s likeness was through an artist’s rendering. Consequently, artists relied on every available resource to fulfill their clients’ expectations. Far from being hesitant to use technology, artists kept their technological techniques and tools a closely guarded secret, due to the immense power and prestige they held. In contrast, contemporary views on technology in the traditional art world often label any form of technological assistance as “cheating,” clashing with the rich history of artistic ingenuity and exploration.

Groundbreaking Advancements

The camera obscura, an ancestor of modern photography, is an optical instrument dating back to the 13th century. It comprises a dark chamber or enclosure with a tiny aperture on one side, which allows light to enter and project an inverted image of the external scene onto the opposite surface. Although ancient Greek and Chinese philosophers were familiar with the camera obscura’s principle, it wasn’t until the Middle Ages that it found its place as an artistic aid. Artists such as Leonardo da Vinci and, subsequently, Canaletto and Vermeer utilized camera obscura-type devices to produce meticulously detailed and accurate drawings and paintings.

By examining the projected images, artists gained a deeper understanding of perspective, light, and shadow, integrating these elements into their work with exceptional accuracy. The camera obscura not only helped artists hone their techniques but also inspired them to investigate new subjects, laying the groundwork for the realism and naturalism that defined Renaissance art and beyond.

These breakthroughs have significantly contributed to the growth and appreciation of art, fostering a more profound comprehension of the creative process. Far from undermining art, these tools have propelled artists to new heights and inspired continued innovation. Consequently, this has broadened the scope of artistic possibilities and heightened the enjoyment of art for both creators and audiences. Historically, the fusion of technology and art has proven to be a potent alliance that promotes progress and elevates the artistic experience for all.

Da Vinci Eye: Fusing Art and Technology:

Da Vinci Eye is committed to revitalizing the bond between technology and traditional artists. The objective is to integrate advanced tools, such as augmented reality, into the conventional artist’s repertoire. We aim to prove that by harnessing technology, artists can improve their creative processes, broaden their reach, and engage with their mediums in ways never imagined.

For example, the Da Vinci Eye app enables artists to trace images onto any surface using augmented reality, acting as an art projector or modern camera obscura. This feature alone has already aided thousands of artists in refining their skills and realizing their visions. This trailblazing approach builds on the long-standing tradition of artists employing technology to elevate their work while also adapting to the contemporary digital landscape. The idea itself is hundreds of years old, a modern take on a camera lucida, however, the adaptation into a digital form makes it much easier and practical to use for the everyday artist.

Challenging the Criticism: The Role of Technology in Unleashing Artistic Potential

One criticism often encountered by the Da Vinci Eye developers, quite surprisingly, is that the technology makes creating art too easy. It’s a baffling reaction, especially considering that most art teachers dream of hearing such words from their students. While it’s true that the artwork of a complete beginner may have accurate proportions and thus look better with the app, the creativity and the process of creation remain entirely in the hands of the artist. Like a ruler, the app simply serves as a tool to be wielded by an individual who wishes to create art, and the outcome is ultimately determined by the artist’s experience.

Moreover, when new artists start, they often feel disheartened because their initial work doesn’t meet their expectations. By using this app, they have good results and feel inspired to continue creating.

Empowering Creativity: A Visually Impaired Artist’s Inspiring Journey with Augmented Reality

In a conversation with a gifted visually impaired artist who has used the Da Vinci Eye app, an uplifting story was revealed that exemplifies the potential of technology in the hands of a resourceful person, no matter their physical constraints. She mentioned that, despite her visual challenges, her passion for art remained strong, and she constantly sought avenues to express her creative side.

When tested, she discovered the app’s augmented reality feature, along with the magnification options, allowed her to experiment with composition and perspective in ways she had never imagined possible. The tool helped her not only create several pieces she was proud of but also boosted her confidence in her artistic capabilities.

Her experience demonstrates the ability of technology to not just improve an artist’s skills but also to eliminate obstacles, enabling them to explore their creativity in novel and thrilling ways. By harnessing technology, she managed to overcome her limitations and achieve new heights in her artistic career.

Technology as an Enhancement

As technology continues to advance, it’s essential to understand how it can enhance the artistic experience instead of viewing it as a danger to art’s authenticity. By connecting art and technology, we can enable artists to extend their creative limits and present their work globally in unparalleled ways. Art’s future resides in the balance between traditional methods and modern innovation. The Da Vinci Eye is one way of providing a digital art tool that assists artists of all skill levels in honing their abilities while also motivating them to pursue their creative endeavors. As we challenge the stigma surrounding technology’s role in art, it may pave the way for a more inclusive and dynamic artistic landscape.

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Author’s bio

Sam Gherman is the multitalented founder of Da Vinci Eye, the viral AR app company for non-digital artists. With the goal of giving everyone the ability to create incredible artwork, their flagship app has reached #2 top paid app spot in the US, Apple’s Top Paid Apps of 2021, and is currently one of Apple’s Top 100 Graphics and design apps since switching to a freemium model. Sam, a self-taught developer and creative professional by day and part-time magician/mentalist by night, has bootstrapped, designed, developed, and marketed Da Vinci Eye with his partner for the last 7 years.

The post Embracing Technology: A New Renaissance For Non-Digital Artists appeared first on Art Business News.

Having deep personal experience with the uncomfortable complexities of BDD, my work addressing eating disorders raises questions about the issues that culminate at the intersection of femininity and patriarchal social constructs. Living in the age of technology has quite literally and figuratively warped our minds into thinking our natural state is a glitch, something to be fixed or remedied to be accepted. Dysmorphic III highlights the very real threat that our current society poses.

For the third iteration of my Dysmorphic series, I felt it prudent to elevate the stories of other women who experience the disorder. In doing so, I was able to gather six women, other than myself, to attend a reference photoshoot at my studio as well as a small, but intimate interview. During these four hours, the women could openly discuss and relate to one another. While many of these women have participated in group treatment or therapy, the focus on support and positivity in my studio left an indelible mark. We all began to comprehend that the distortion we perceive is not based in reality, but actually, in the post-photo warping and image treatment work I conducted in the studio. It’s not often that a group of women suffering from the same disorder come together to create, understand, and grow from such experiences, however, these bold and confident women enabled a deeper understanding of BDD not only for themselves but for my own artwork and the resulting portraits reflecting dysmorphic thought.

The etiology of BDD appears to develop from biological, cultural, psychosocial, and neuropsychological factors. Presently, it affects between 1.7 and 2.4 percent of the population or approximately 1 in every 50 people. In the United States alone, it is believed that between 5 million and 7.5 million individuals suffer from Body Dysmorphic Disorder. While the prevalence of BDD is pervasive in our culture, the awareness and functions around the disorder are widely misunderstood, analyzed, and seldom discussed in mainstream discourse about mental health. While BDD is experienced by both men and women, women tend to grapple with the condition at higher rates. This discrepancy may be due to additional societal pressures placed on the importance of female appearance. “Women are expected to have small waists, flat stomachs, big breasts, a round ass, an angular face and jawline, smooth skin… It’s impossible,” stated Alex L. one of the women portrayed in this series. The immense pressure of functioning in a society where idealized physical perfection is valued above all else, where beauty products and “quick fixes” are pushed down our throats, and where intrinsic value for women is based on pleasing others leads to an internal breakdown of confidence, self-acceptance, and worth.

We live in a society where physical perfection is the silver bullet for happiness. Influencers promoting and profiting off “flat tummy teas,” taking weight loss drugs to fit into clothing, and editing their appearances to promote unrealistic beauty standards set an example for young women that worth is derived from one’s appearance. Rampant increases in depression, anxiety, BDD, and eating disorders, in general, are the result. Is this reality, or is this a pill being fed to us by those that wish to control, subdue, exploit, and profit off of women’s insecurities? By exploring the correlation between psychological states and the expression of the human form, I attempt to peer into the moment where societal pressure and psychology meet, where expectation and acceptance clash, and where reality and non-reality diverge.

For much of my life, I have struggled with dysmorphia and disordered eating. Commonly, those who struggle with BDD invariably deal with feelings of shame, guilt, or loneliness. In an effort to better understand others’ experiences with BDD, I decided to paint women who themselves experience this disorder. When interviewed, these women’s stories paralleled each other dramatically. “I wished my cheeks were smaller and that my face was more angular. I thought the dark circles under my eyes made me look sullen and exhausted and my pale skin made me look sick. I felt like every part of my body needed a tweak and it was exhausting trying to exist in public.” stated Alex L. “I still feel worthless most of the time because of what I think I look like,” said Supriya D. The women pictured in this series exemplify the immense pressure placed on one’s appearance in an effort to feel valid, worthy and accepted by a society fueled by thinness and conformity.

Personally, it often feels as though my outward appearance and internal dialogue are two separate people. I feel that the shame I carry with me on a daily basis due to my disorder infiltrates every aspect of my life, except my artwork. The studio is essentially the only place I feel the impact of my ED and BDD fall by the wayside. In college, as my ED raged, I was faced with a choice:  Was my eating disorder going to “consume” my creative spirit, or would my artwork help to heal constant critical voices in my head? I knew all too well that these two aspects of myself were either going to destroy each other or come together to heal one another. I am still on that journey.

In an attempt to translate my own thoughts and feelings to the canvas through previous iterations of the Dysmorphic series, I found that making the invisible visible was an invaluable tool to help better comprehend my disorder. Being able to do this for me was not only a learning tool but also served as a connection to others with similar issues. Dysmorphic III shifts focus from my experience to that of others with similar struggles. In doing so, all my subjects, including myself, began to question the inherent loneliness of the disorder. We were in fact, not alone. Additionally, seeing themselves as an artistic representation of BDD allowed my subjects to better understand the warped nature of their reality. These portraits helped the women to separate from their perceived versions of themselves and question the pejorative nature of their internal dialogue. I attribute this shift to the aesthetic force of art.

The ineffable qualities of consuming art are transcendent. Art allows the viewer to sit in introspection and to question oneself, no matter the discomfort level. I believe the same to be true in unlearning the deeply toxic functions of diet culture. We must confront to overcome, and we must reflect in order to progress. Art allows us to tap into the recesses of our minds to expose the complexes at the core of our psyches. By confronting such deep-rooted issues, one can begin to lift the societal veil and start comprehending the capitalist, racist, and misogynistic functions of Western beauty standards that we so easily accept as “truth.”

We, as citizens of the modern era, are constantly barraged with images of perfected, altered, unachievable bodies. The impact of such imagery has become deeply rooted in the fabric of our self-identification. We use terms such as “bikini body” and “summer body” to emphasize the importance of thinness and its impact on broad societal acceptance. These overtones only shame those with real or perceived non-conforming bodies and make them feel unworthy of praise, love, and self-confidence.

The purpose of art is to challenge the viewer and question accepted notions of reality, paralleling the nuanced intricacies of treating BDD.  In creating Dysmorphic III, I focused on providing not only a bridge of connection between those who experience the disorder themselves but also the greater public. BDD is not a rare occurrence these days. As our culture began to intertwine heavily with consumerism, celebrity, and technology, people have come to suffer from disorders such as BDD at increased and alarming rates. This unfortunate truth should urge people to question the purpose of societal standards and the functions in which they work to elevate conformity and repress individuality.

Who benefits from a homogenized culture? Who benefits from women being preoccupied with their looks? Who benefits from a culture focused more on appearances than the sociological happenings of our time? How would a distracted constituency enable those in power to resume activities that further oppress women? Dysmorphic III serves to exemplify the very real impact our current society has on women who participate, digest and embody the values of our culture, distortion and all.

______________________________________

Alex Rudin is an NYC-based multimedia artist & illustrator focused on social justice and abstract political theory. In 2019 she founded her creative studio Rudin Studios, LLC. Alex’s artwork is narratively focused with a strong emphasis on expressive portraiture. Much of her work attempts to comment on the complexities of the human experience through stylized portraiture and anecdotal commentary. Alex’s focus lies in uncovering and expressing the truths of what it is like to live in modern America. She is currently focused on creating work to galvanize action around social and political issues. This year Alex has partnered with organizations such as Women for Biden Harris 2020, Women for the Win, Women Rising, Women’s Rights Information Center, and Her Bold Move among numerous other female-led socio-political orgs in addition to working in the human rights space with organizations such as Article 3, The Representation Project and the Sam & Devorah Foundation for Trans youth. Rudin’s work has been featured in publications such as Art Daily, Authority Magazine, Yahoo!, and USA Today, to name a few. Alex’s fine artwork has been shown in both solo and group exhibitions in New York City, Great Neck, Delaware, Philadelphia, and the Hamptons.  Alex recently debuted the inaugural 32-piece exhibition of The Age of Empathy at Jersey City, City Hall. The Age of Empathy is slated to start touring in 2022.

For more of Alex Rudin’s work, please visit her Instagram @_alexrudin, her website www.alexrudin.com, or her online store www.rudinstudios.com.Set featured image

The post Distortion and All appeared first on Art Business News.

CREATE A ROBUST ONLINE PRESENCE

The best place to start is to work on your online presence. You need a good website that will allow you to showcase your work. You can direct interested buyers, curators, art collectors, and museums to your website if they want to see more of your work or find updated information about you. You could also use your website to apply for a project or register for an art competition. Fortunately, websites are easy to create and cheap to maintain. You can use builders like Wix to create your first personal website.

PUT ALL YOUR ART IN ONE PLACE

Talking of creating a lasting impression, your audience won’t know how good you are if you don’t showcase the pieces you have already made. Again, one of the best ways to get exposure to your artwork is to create a killer portfolio where visitors and potential clients can see all your art in one place. Take time to gather all your work, take quality photos, and post them on a separate section of your website.

POST TOP-TIER CONTENT

Now that you have a polished website, it’s high time you beef it up with quality content that will keep your audience coming back for more. After all, your clients won’t be interested in your stuff if they have no idea what they are buying. Your strongest skill is visual not written, but you can still be creative enough to play with the words in the product description. You could also spice things up and write about the creative process and all the work that goes into making your art. You can also work with an agency with connections and in-house specialists who do guest posting services to get your content to bloggers.

ADD A LINK TO YOUR STORE ON YOUR WEBSITE

Most clients want you to meet them at their convenience. They might lose interest in your stuff if they must click away from your website to search for your online store. You could make things easier for them by embedding links to where they can buy your artwork. You can also create an online shop right on your site. In this case, your website visitors can complete the purchase without any redirection.

DESIGN A UNIQUE LOGO

A logo is an excellent way to take your art career to the next step and get you noticed. You don’t have to design a complicated logo that will take time to complete. A good logo can be as simple as your signature or a symbol that your audience can recognize as yours. Tap into your creative side and do deep introspection to determine what other people associate with you or what symbol you resonate with most.
Tip: You can also outsource logo design to a freelancer to make it fast.

CAPTURE THE TRUE ESSENCE OF YOUR ART

Unless you sell your art locally, most of your potential clients won’t get to see your pieces in person. Therefore, it would be wise to take quality photos with high resolution so your audience can see your art for what it truly is. Capturing the true essence of your art also means portraying it in action. For instance, if you created a glow-in-the-dark painting, you could take a picture with the lights on and off so your audience can get the full experience.

NETWORK WITH INFLUENCERS

People who have amassed an enormous following online are valuable in helping you get exposure to your artwork. Once they introduce you to their audience, chances are your content will get more engagement and conversion. Connecting with influencers is also excellent if you want to combine two different audiences. For instance, you could liaise with a fashion blogger and bring together your art-based audience and their fashion-based audience.

However, finding the right influencers to partner with can be tedious. An excellent solution to this predicament would be to use blogger outreach services like Outreach Monks which work with influencers to help secure relevant links to increase traffic to your website and boost your SEO rankings.

LEVERAGE MORE ON SOCIAL MEDIA

As an intelligent artist and entrepreneur, you shouldn’t trivialize the power of social media in boosting the reach and visibility of your products. However, you could miss the mark if you post on the wrong platform. First and foremost, we advise you to determine which platform your target audience uses and make it your primary focus. You can then tailor your content and visuals to suit your chosen platform to reach your potential clients. As you continue posting on your leading platform, don’t forget to use other social media platforms to broaden your reach.
Tip: Tap into new platforms like TikTok to showcase your art

TELL A DESCRIPTIVE STORY

Gone are the days when clients were more engrossed in the final product. In addition to marveling at your art, your visitors and potential customers want to know why you decided to get into the art industry and where you draw inspiration. Perhaps telling your unique story could be the key to pushing your art into the world and reaching your target audience to notice you. Optimizing your store copy gives your audience a chance to connect with you on a deeper level and cherish the pieces you make.

CONSIDER PEER-TO-PEER PROMOTION

One other clever way to take the tedium out of trying to promote your artwork without compromising on the effectiveness of the process is to encourage your followers to share your work. If you are yet to find a creative way to incentivize your audience, you could ask them to tell a friend or loved one about what you do. You could also create giveaways and get your audience to make a post that mentions your company or uses one of your hashtags. The winners could go home with an art piece of their choice or a gift voucher.

LIAISE WITH OTHER UPCOMING ARTISTS

Chances are you have come across numerous artists struggling to gain exposure for their work in your niche. Teaming up with these artists is a budget-friendly yet effective way to push your own work into the market. They could introduce you to their audience and vice versa, allowing you to cast a wider net. You could also learn from the artists you interact with and incorporate the new skills into your creative process to develop better art pieces for your portfolio.

WRAPPING UP

The biggest mistake you could make as an artist is an inaction. Failure to take the first step will leave you stuck in your current situation. You wouldn’t want to leave your stunning pieces tucked away in the attic when you could find a new home for them. It would also be a shame to let other people talk you out of your dreams and vision. The best time to start working on your goals and get exposure for your unique art is now!

Author Bio: Imala Green works with Outreach Monks as senior content head. She holds her expertise in business and technical writing. Her aim is to provide information about advance business trends worldwide, along with changing working parameters in an easy language.

The post How to Get Exposure For Your Artwork appeared first on Art Business News.

However, there are also people who choose art as their career lifepath. If you are reading this article, you must be an art student. And you also probably thought that your life at university would be easy and colorful.

The college life of an art student is for sure interesting. But still, you need to cover your expenses and often seek jobs that won’t interfere with studying.

So, how can you use your hands and imagination to earn some extra money? Let’s brainstorm some ideas.

ART THERAPIST

Art is a great way for people to address their emotional conditions. If you are good at painting, you can ask people to express their feelings through oil paints. Expressing emotions via writing is another great technique. You can prepare challenging questions that will help people see their problems from a different angle.

You may decide to rent a workshop and organize group therapy. Or you can arrange individual online sessions. Make sure you read some professional literature to help people analyze their paintings or essays.

POWERPOINT PRESENTATIONS CREATOR

Presentations are an integral part of good public speeches or sales. Many public speakers are great at what they are doing but need help with illustrating their performances. You can promote yourself as a designer of creative slideshows that enhance the impact on the audience.

Another way to use your designer skills is to develop PowerPoints for selling purposes. They are more formal, of course. Yet, designing a presentation that makes the right impression on potential customers or investors is definitely a creative task.

PRIVATE TUTOR

Depending on your skills, you can:

• Give music lessons;
• Teach people to draw or paint;
• Give lectures or practical seminars on creative writing;
• Instruct people on how to make simple designs online, etc.

MAKEUP ARTIST / NAIL TECH

While you are still studying art in college, you can practice on “alternative” canvases. Use people’s faces or nails! If you do not want to do traditional wedding makeup for brides, there are still plenty of options for you.

Theater or cinema actors often need all sorts of stage makeup, both men and women. You can also make funny makeup for kids at various events. And finally, becoming a nail tech is a lucrative option. You would need to make some investment, but it will quickly pay off. Women are addicted to shellac these days.

MURAL ARTIST

If a nail is a very small canvas for your huge potential, here is an option for you. Some people are willing to pay a pretty sum of money to have something unique. You can be the one who designs murals for them.

CAKE DECORATOR

An ideal option is to be able to both bake cakes and then decorate them. This also gives you an opportunity to earn more. But if you are not exactly a confectioner, you may stick to the second option only. Another canvas to unleash your creativity and skills. If you like baking, this job will be a piece of cake for you.

EVENT DECORATOR

This side gig is perfect for art students. However, it involves investment because if you rent the materials every time you need to design a party, you are unlikely to earn a lot. Also, you need space for storing all these artificial flowers, candles, and tablecloths.

Other than that, this is endless room for your imagination. Decorators design all kinds of things for various events, from a photo wall at a corporate party to a wedding arch. Consider the pros and cons carefully, and perhaps you will dare to try.

FREELANCE PHOTOGRAPHER

If you have a good professional camera, do not hesitate to try this side job. Its flexible schedule is ideal for combining work and studies. Another great advantage is that you set the price yourself. By the way, it is also true about all the above-mentioned side gigs.

There are different niches where you can use your photography skills:

• Professional photo sessions for individuals (from a photo session for a future mom to an influencer’s portfolio);
• Reportage photography (business conferences, festivals, etc.);
• Event photography (weddings, birthdays, proms, etc.);
• Advertising (local businesses often need content for their social networks; this is the bread and butter for food and confectionary photographers).

FREELANCE WRITER

If your big dream is to become the new Joanne Rowling one day, you can sharpen your style during your college years as a freelance writer. Individuals or companies are constantly looking for someone who can

• Write content for their website;
• Create instagram or facebook posts;
• Create mottos or advertising campaigns;
• Write an essay, etc.

These may not be the kinds of texts you want to write in the future. But they can help you discover your style and artistic devices. Practice makes perfect.

BARISTA

It may be surprising for you to find this job on the list. But without exaggeration, making coffee is an art. You can use all your artistic abilities to make beautiful images at the top of hot coffee. If people like it, they will come back again and again. If your boss notices it, you can get promoted. That is why this job comes last but not least on this list.

FINAL THOUGHTS

We tried to avoid mentioning the obvious side gigs in this article. It goes without saying that a college student can be a graphic designer, sell and edit photos, or start a blog or online course. The main message to get across is: do not put yourself into frames. You are an artist, not a painting.

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Author’s bio: Carolyne Webb is an expert providing top-notch dissertation writing services at https://dissertation-service.com/, which is not her only great achievement. Carolyne Webb is also the author of numerous articles with handy tips for students. She is often invited to topic-related webinars as a speaker.

The post Top 10 Side Gigs for Art Students appeared first on Art Business News.

Obtain a basic business education

A successful artist should wear two hats. They should wear the hat of a creative, but also one of a business owner. Most artists have no problem wearing hat number one, but many of them neglect hat number two. Take some time to study how to run a business and obtain a basic business education. This does not mean you need a college degree you just need to understand the basic function of a business.

Understand what your costs are and how much time it takes to do work. Time and cost must always be at the top of your mind. Small and basic pieces cost less time or money to make but have more competition and may make less profit. A large custom piece might bring you more profit, but it is going to take more time and money upfront to build. You need to understand you are running a business even if it feels like you aren’t.

When you are working on a piece it is important to ask yourself what your cost are and map them out. What do your materials cost? What will shipping of materials or your art piece cost? Most young artists don’t have their own studio so you may need to rent out studio space. If you are a glass artist or work in a medium that requires high heat, you need to account for an expensive energy bill. All these factors need to be considered when it is time to set a price for your art.

It is important you learn how to make money as an artist. Understand your art is your business and find a way to support yourself off your art.

Find a mentor and eventually mentor others

 Finding success in the art industry is a difficult thing to do. Artists put their heart and work on the line and they do so often for little money and acclaim. This industry is so hard to navigate, and you should not do it alone. Mentorship is a huge part of success in the art industry, and I would not be where I am today without having people I trusted mentor me in both art and business. You need people who can guide you through this industry and the general business world and help you grow. Mentorships don’t need to be some formal affair such as working with a famous artist in a studio. You can develop many informal relationships with artists in your community who will help you learn about the industry. As long as these people are helping you learn and grow then they are good mentors. Working with young artists has been a passion of mine for a long time and many of my best glass pieces would not be possible without the help of these talented young artists. Everyone young artist needs someone to hold them accountable and help them do art for a living. My mentors inspired me to be a better artist and they helped me make money in this industry so I could afford to share my gift with the world. They taught me that I could stay true to my artistic vision while not being a starving artist.

Find multiple mentors that are willing to guide you through this industry, they will make you a better artist and businessperson.

Always budget for emergencies and understand that cost and time are variable

Completing a complicated art project is one of the most fulfilling things an artist can do. However, accurately estimating the time and cost to complete said project often feels like an impossible task. The cost you estimate to complete a project is often less than the actual cost which is why you need to budget for emergencies. As a young artist, you are most likely not getting paid until you sell your piece and that could take up to a year for any large project. Start by doing smaller projects and save up your money to build an emergency budget. Any large project should be backed by three to six months of emergency savings in case the project goes over time and over budget.

Projects often take longer than you think to complete, and you often need to purchase more materials which with current inflation are often more expensive the second time you buy them. Cost and time are variable, and you must have money saved up to ensure you have the budget to combat these changes in completion time and material cost.

Don’t be afraid to walk away from projects 

Admitting that you don’t have the resources to do a project is a difficult thing for an artist to do but being humble and knowing when you are stretched too thin will help you in the long run. Art can cost a lot of time and money. You are spending money on materials and trying to market your piece which can put you in the red until the day you sell it. Understand what you need to make money off a piece and if you can’t make a profit off it then it might be best to put that piece aside. As creative people many of us are willing to lose money on our art if it means people get some meaning or enjoyment out of our creation; however, making this sacrifice will hurt you in the long run. The reality is it is better to do nothing than sell a piece and lose money. Not walking away only serves to burn through your materials, budget, and energy.

Think long-term and know your limits. As you grow you will gain more success and opportunities to create bigger and better projects.

Don’t be afraid to market yourself and be good to your customers

You can’t be a successful artist without finding a customer base willing to buy your art. If you want more people exposed to your work, then it is important that you market yourself. Establish your artistic brand and market it appropriately. Self-promotion can be a hard thing for many artists to do, but it usually pays off. Be active on social media and seek out magazines and local newspapers to cover your work and tell your story. Don’t be afraid to share your work with galleries, small businesses, and other artists. A lot of work I have received is due to the network of local artists I am friends with who tell their customers about me. If you have the money to do so it isn’t a bad idea to invest in some internet marketing help so you can improve your engagement on social media or show up more prominently on Google.

When you find new customers do everything you can to treat them right. I have customers who have been with me for over a decade and every few years they reach out asking me to commission a new custom glass art. Your art is your gift to the world so don’t be afraid to share it.

Lastly, it is important that you always continue pushing the envelope with your art. Don’t allow people to stifle your creativity. You shouldn’t take jobs that burn all your money, but you also should not take jobs that don’t inspire you. Balance that creative fire you have for art with the acumen to run a business and you will be successful in this industry on your terms.

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Author’s Bio: Newt Grover is the owner of the Scottsdale Arizona art studio Newt Glass. Newt specializes in creating hand-blown glass chandeliers and custom glass art for people across the United State of America. 

The post Artists Must Learn the Value of Their Art appeared first on Art Business News.

Let’s take a look!

Many myths surround the art world and, specifically, art galleries. It’s essential to separate the true from the false.

MISCONCEPTION: ART GALLERY OWNERS LIVE LAVISH LIFESTYLES

The Art Industry is often alluring to outsiders because of what it appears to them to be. People tend to associate it with money, prestige, and glamour, but it is nowhere as glitzy as it seems.

Note that generalizing either of the two statements would be a huge misconception, so we will not attempt to do so. Still, we can freely say that the overwhelming majority of gallerists aren’t in it for the money. Instead, they are in this line of business for one reason – because they are passionate about art. And that’s what helps them navigate the booming art world and the competitive art market – passion and dedication.

Plus, nothing significant separates a gallerist from any other business owner. Just like them, gallerists have their fair share of ups and downs. But if we were to make it a bit more challenging, we could say galleries do not serve any necessity. Instead, they’re merely an item of luxury. Therefore, the owners rarely really have a 100% certain monetary benefit.

Some gallerists live a life of luxury; some do not. It would be a misconception to make any generalizations.

MISCONCEPTION: GALLERIES ARE LOADED WITH MONEY

Yet another common misconception relating to the seductive image of running an art gallery is that galleries make huge profits. If only that were true! But unfortunately, it is not. Many galleries, particularly the smaller ones, are barely getting by these days. Merely renting an exhibition space takes a large chunk of their profits. Now add to that the costs of marketing, production, shipping, and insurance, and you’ll understand why most would agree that the opposite is far more often the case.

MISCONCEPTION: GALLERY REPRESENTATION WILL MAKE ONE’S CAREER AS AN ARTIST

Not true. There is much more to becoming a successful and established artist than merely putting your art in the gallery. There is no such thing as an instant fix and overnight success. It happens gradually over time. And it takes a lot of dedication, hard work, consistency, and planning to make any headway in the art world. It is a series of peaks and valleys and trials and errors until one has reached a steady and successful track record of exhibitions, sales, and accomplishments.

Getting art gallery representation is not a way to jumpstart your career as an artist. That takes a lot of hard work and dedication. Therefore, getting gallery representation will not make one’s career as an artist, but it is one step forward in the long and arduous journey.

MISCONCEPTION: GETTING A GALLERY SHOW MEANS THE ARTIST IS AUTOMATICALLY GOING TO SELL A LOT OF THEIR WORK AND MAKE A LOT OF MONEY

Also, not true. There are no guarantees whatsoever that merely showing at a gallery means the artist will sell all the artwork and fetch a handsome amount of money. Gallery shows offer exposure, but it is up to the artists to make the most of it. So, work hard and spare no effort.

MISCONCEPTION: GALLERIES ONLY SHOW ‘SALABLE’ ART

Naturally, any seller would prefer items that sell easily. And galleries, too, want the art that they display to be top-notch, no doubt about that. However, galleries do not decide what pieces to show based on their salability alone. Far from it.

The art industry is an exceptionally unique world of exploration, discovery, innovation, learning, expression, inspiration, and creativity. Thus, galleries are a lot more than just cold selling machines. That is one of the most common misconceptions about art exhibits, whereas, for the most part, it is the passion that drives them. They love bringing new art and budding artists to the public eye all the time. What’s more, they have the utmost faith in the artists they show and sincerely believe that the work they create is worthy of showing – whether they ultimately end up selling or not.

MISCONCEPTION: ART SELLS ITSELF

One of the most common misconceptions about art galleries is that all gallerists do is sit around and wait for clients to pop in and buy the artwork. This is not the least bit true – no art sells itself. The opposite is far more often the case. Galleries must promote the show and bundle their forces with the artist to convince potential buyers that a piece is worth adding to their collections. A collector may like a work of art, but that doesn’t necessarily mean they want to buy it. There’s a difference between liking and purchasing. That difference is called selling. Gallerists spend all day, every day, bending over backward to make artwork sales.

A visitor liking a work of art is one thing. Them making a purchase is another.

MISCONCEPTION: ALL ARTISTS HAVE TO DO IS BRING IN THEIR ARTWORK

The opposite is not the least bit true, either. Galleries are not responsible for doing all the work while the artists kick back, cross their fingers, and hope for the best. Selling art is a full-time job, of course. However, active and ongoing participation from both parties is crucial for any thriving gallery/artist relationship. Only if they work side by side can everyone’s reputation benefit.

MISCONCEPTION: ART SHOWS ARE ONLY FOR WEALTHY PEOPLE

One of the most common myths about art galleries is that they are only meant for the rich. Sure, there are some exhibits out there that can be on the expensive side. But then again, many others are affordable or even free. One does not have to be a collector or rolling in it to be able to enjoy and appreciate fine art.

Countless other statements could easily find their way to our list of the most common misconceptions about art galleries. However, there’s only so much that we can cover. Hopefully, we’ve managed to debunk at least some of the falsehoods circling the art world.

Author’s Bio: Kendal Timms is an art lover, self-proclaimed bibliophile, mother of three wonderful children, and soon-to-be grandmother. As a retired art teacher and art collector, she has a remarkable talent for instilling art appreciation and encouraging open-mindedness and creativity, which is why she started writing creative articles about various art-related subjects, including practical how-to blog posts for moving companies like Zippy Shell Columbus.

The post The Most Common Misconceptions About Art Galleries appeared first on Art Business News.

You’re so thrilled about the possibility and decide to click on the link provided in the email. As you reach out to click on the link, you immediately stop yourself. Right away, you begin to hear the voice of your inner protector telling you this opportunity is way above your head. It means you’re not ready for a chance like this and discourages you from trying because you’re going to be disappointed again. Next, your inner critic chimes in and tells you that your art is not good enough and you’re not good enough.

Suddenly, the tingling in your belly, the excitement running all over your body, and the picture you painted in your head about the opening night abruptly disappeared. You hear loud and clear, this opportunity is not for artists like you. The morning that started so well suddenly ended up triggering your insecurities and messing up the rest of your day.

Do you relate to this story? Have you experienced something like this before? Perhaps, you wanted to introduce yourself to a gallery owner or curator but found yourself thinking of all possible excuses to avoid taking that step. Or maybe, you finished your amazing body of work and feel stuck and unsure about what to do next. You’re not into social media marketing or sales. Let alone trying to convince a gallery owner to represent you.

As artists, we are our worst critics and oftentimes our mindset gets in the way of our success. You are constantly juggling studio practice, marketing, sales, and keeping up with the demands of your personal lives. Many artists feel intimidated by today’s art world, which demands constant social media presence and often selling their art themselves. If you ask any artist, they will tell you that they only want to be in their studio. Consequently, many artists experience frustration, insecurities, and self-doubt that affect their art business and quality of life.

In Crush Self-Sabotage and Live Fully! The Artist’s Wellness Journey to Confidence and Success, husband and wife co-authors Sergio and Dr. Yanina Gomez share strategies to help you understand your inner critic so that you take on healthier risks, gain confidence, and experience success. They also share their insights and experience to empower you to boost your confidence and live your best creative life.

As a psychologist and wife of a successful artrepreneur, Dr. Yanina understands the struggles artists experience as they navigate the complex art world. As an artist and gallery owner, Sergio knows first-hand the challenges involved in building a successful art career.

In Crush Self-Sabotage and Live Fully! The Artist’s Wellness Journey to Confidence and Success, you will learn…

• Practical strategies to overcome self-sabotage that’s depleting your energy, mental space, time, and disrupting your creative flow.
• Ways to free yourself from negative thinking that leads to unnecessary stress and anxiety.
• Things you can do to improve self-trust, move forward, and live your life to the fullest.
• How you can tweak your mindset, become more confident, and maximize creativity.
• Insightful self-reflection exercises that guide you on a journey of self-discovery, self-awareness, personal growth, and ultimately, a healthier lifestyle.
• And more life-changing strategies!

Even if you don’t consider yourself a creative person but want a healthier mental state, this book is also for you! It’s time to stop the nagging voices in your head that say you or your art are not good enough. This book will tell you how.

ABOUT THE AUTHORS

YANINA GOMEZ, PhD, is a psychologist, author, and speaker. She has a Doctor of Philosophy degree in Educational Psychology and has also completed the Internal Family Systems Model Training, an integrative approach to psychotherapy.

Her insight and understanding of the psycho-emotional issues many artists experience have allowed her to identify practical mindset and emotional wellness resources artists may benefit from when dealing with their art career in a healthier manner. She believes that artists who maintain an optimal wholeness balance (Mind, Body, Soul) can enjoy healthier lives while making a more significant impact in this world. She enjoys developing seminars, programs, and resources that are relevant to the thriving contemporary artist, especially brainstorming with artists about their career development and emotional well-being. Finally, she is a mother of two amazing children.

SERGIO GOMEZ, MFA, is an award-winning Chicago-based artist with international recognition. Sergio’s artwork has been the subject of more than 45 solo exhibitions in the United States, Romania, Italy, Mexico, and Vienna. He has participated in numerous group exhibitions in Spain, Sweden, Mexico, Austria, Italy, South Korea, England, Kairo, Belgium, and the United States. In 2018 Sergio was the subject of solo exhibitions at the Museum of the City of Queretaro, Mexico, Museum of the City of Cuernavaca, Mexico, Museum of Art of the City of Cluj, Romania, and Museo Internazionale Italia Arte of Turin, Italy. His work is in several private and public collections.

Besides his studio work, Sergio Gomez is the Curator and Director of Exhibitions at the Zhou B. Art Center in Chicago. He has curated over 100 exhibitions in the US and abroad. He is also the director and founder of 33 Contemporary Gallery, co-founder of the Art NXT Level Academy, and founder of Amplified Art Network.

His weekly Art NXT Level podcast and Breakfast with Sergio video show inspire and educate contemporary artists from around the world.

Crush Self-Sabotage and Live Fully! The Artist’s Wellness Journey to Confidence and Success is on sale now on Amazon and wherever books are sold. Learn more at www.theartistnextlevel.com/book.

The post How to Understand Our Inner Critic, Gain Confidence, and Live Fully appeared first on Art Business News.