Artlab33 Art Space will return this fall as we are working on reinstalling walls:
miamiartexchange posted a photo:
What We Want
Of course, we’re looking for new exhibition space. We have desires to continue our curated exhibition program, but this space needs more work to be a usable gallery. It was, unfortunately, renovated without consultation from anyone who knows what an exhibition space needs. It could be reworked, but it’s a pristine renovation, and seems like a poorly planned situation to have to make such changes. It seems it could have been done better at the outset.
At any rate, we’re working on two curated exhibitions, one in Broward, and another in Palm Beach. More details soon…
Tips for Art Collectors
TIPS FOR COLLECTORS: SAFE PACKING AND SHIPPING
1. Before packing a painting or work of art, be sure that it is secure in the frame and that there are no loose pieces that could potentially damage the art while in transit. Ensure that glassine is not touching the surface of the painting to avoid adhesion to the varnish layer. It is best to wrap paintings in glassine or paper first, which will help to ward off any condensation that might occur from moisture exposure, followed by a protective layer of Mylar or polyethylene. Dartek, a polyester sheeting that “breathes”, can be used with no inner wrapping for short trips.
2. Do not allow packing material to touch the surface of a painting or work of art. If need be, create a shadow box. Wrap the corners or other exposed surfaces in a thick layer of cardboard followed by a layer of bubble wrap. If a frame seems unstable, remove it and wrap it separately with cardboard and bubble wrap. Paintings should be faced with cardboard.
3. Do not wrap a painted surface directly in bubble wrap. Put a layer of moisture-resistant material (such as polyehthylene) between the item and the bubble wrap, and apply the bubble wrap with the bubbles facing away from, rather against, the surface. This will prevent the bubbles from denting the item. The outwards-facing bubbles will also be able to better protect the item during transport and prevent the bubble from causing a “honey-comb” effect to a painting’s varnish layer. If you are reusing packing material, make sure that it is clean and free of mold, mildew or debris. It may be worth the small investment to purchase new, clean materials for each move.
4. Try to ship artwork at the start of the work week versus the end of the work week to avoid over handling. Standard carriers will often store or pile items in a warehouse during weekends. Never roll or fold a painting using a tube. Both techniques require extensive art-handing experience and should only be carried out by conservators or professional art movers.
5. For short trips it may be tempting to simply wrap a painting in a towel or blanket, but this is generally not a safe method as the surface of the wrapping can scratch the surface of the painting. This is particularly true for items with loose or flaking paint, which should ride uncovered face-up. If the item must be wrapped, it is best to drape it loosely with a polyethylene drop-cloth, available from a hardware store.
6. If traveling by car, clear the area where the painting will be placed of any items that may come loose and either damage the item or prevent it from riding safely. In warm and humid climates, the vehicle in which the art will be transported should be pre-cooled in order to keep it in a stable environment; in northern areas, it should be preheated.
7. If a painting has had a long trip or if there is a climatic change in its environment and you suspect that condensation may have occurred, it should be unwrapped as soon as possible. The safest option is to hire professional art movers and packers who use climate-controlled vehicles fitted with a low-vibration “air ride” feature to transport art. During long trips the movers should ensure that the truck is protected and the temperature controlled with alarm systems for overnight stays. If you feel that your painting is not being handled correctly, let the company know of your concerns. It is recommended that professionals entrusted with your collection have had employee background checks which should be routine policy.
Art Submissions Getting You Nowhere?
Art Submissions Getting You Nowhere?:
“…often the answer has nothing to do with you or your art.
I’m always amazed when artists thank me profusely for responding to their art submissions, especially when I turn them down. They seem to just be glad that someone actually took the time to respond to them, because with most submissions they never ever hear back. Not a positive, not a negative, not a form letter in the mail and definitely not a return of their artwork. Not even a simple email rejection. Nothing, nada… zip.
For those artists who are accustomed to not hearing back (can you ever actually get used to that?), let me shine some light on that murky area. You see I have the same thing happen to me when I submit my artists’ work. And believe me, I send out a whole lot of artwork to companies that are good active licensees, so-so licensees, or just prospective licensees and most of the time I hear nothing back.
If it’s a good licensee or if I find myself getting a bit annoyed or just in a pleasantly feisty mood, I’ll email them again and ask, ‘Did you receive those materials from (blank) that I sent you two weeks ago? Did you get my email?’ That’s a very legitimate question because we’ve all had emails not go through, or wind up in a junk mail folder or spam filter and get discarded without ever having been opened. Or, I might re-send the original email, as that often helps get a response.What I’ve discovered over the years is most often, it isn’t about the artist or licensor and it isn’t even about the artwork.
You see, the reaction to art of any kind isn’t rational and it isn’t logical. The fact is it’s totally subjective. If I showed the same piece of artwork to 100 people, a certain number would like it a lot, a certain number would hate it a lot, some would be interested, some would be uninterested and some would be totally out to lunch.
If you think about it, this is what retailers experience everyday. Imagine the typical store in a mall or on the street. There are attractive displays of items in the windows, and every day hundreds of people walk by the store, glance at the windows and never slow down. That’s a rejection.
But a few people out of those several hundred will indeed have their eye caught by something in the window. They’ll stop, look for a moment, (perhaps longer) and then either move on or go into the store. The same thing happens inside a store when you browse the aisles, glance over hundreds of products and never buy even 1% of all the products you see. If you’re on a mission to go to a particular store for a particular item, you might stay and browse those items until you find the one you want. But chances are, you’ll then take it to the register, buy it and leave.
Total up the rejections you’ve been party to while walking down a retail street, an aisle in a mall or through a store and I’ll bet you’ll have turned down many hundreds if not thousands of products.
Art licensing is much the same. I’ll give the example of one card company that receives thousands of pieces of art every time it sends out a request for images. It’s overwhelming, and unless the art happens to connect with initial reviewer instantly, it never makes it to the table when the committee is doing initial or secondary reviews.
Who is the Initial Reviewer? →
Let’s take a brief look at that initial reviewer, the one who opens the package, downloads the email attachments, or prints out the PDF files. This initial reviewer might be an extremely pleasant, hard-working, on-purpose, dedicated, devoted, happy and focused individual who gives each piece or group of artwork the time and attention it deserves. He or she is never distracted, never has an argument with a spouse, child or friend, never is hungry, tired or cranky, doesn’t have to worry about office politics, about how he or she will look passing on artwork that others might not like, is in no fear of job loss, and is generally a wonderful, patient, and extremely secure individual.
I suspect that a person like that comes around once every hundred years and is immediately a candidate for sainthood. Moreover, I guarantee this is not the person who looks over your artwork before passing it on to possibly hungry, tired or cranky coworker. Your art may indeed make the first cut, but chances are it won’t pass the second. Often, your artwork will be filed, erased or tossed out.
Some companies have trouble keeping track of the names or sources of images that come in. This is a huge problem when a company receives hundreds and hundreds of images each week. One of my good licensees regularly sends out an email to the most likely suspects, asking: ‘Is this image one of yours?’
On more than several occasions, I’ve had licensees say to me, ‘I love this art! Why haven’t you ever shown it to me?’ when in fact it was sent to them and had been promoted on my site for two years. Or they’ll say, ‘Why aren’t you showing me new art?’ Again, the same situation — they probably saw it, ignored it and forgot about it. Then when the need arose, they happened to see it again and said, ‘Wow! This is exactly what we’re looking for!’
There are other reasons why your art won’t go through to final review. I’ll mention a few of them. If you send spring floral designs to a company in the throes of developing Christmas art, your submission will ‘go on the shelf’ and perhaps be forgotten. And if you send Christmas art when they’re developing their spring/summer line (or just before, during, or after one of their major shows), chances are the artwork will be put aside, perhaps forever.
Another reason — people who work in high-pressure jobs, especially during tough economic times, don’t have much time to get done all that they need to get done. Or perhaps the staffing in the creative department has just been cut and the remaining staff is going nuts. Again, it’s not about you and your art, it’s about all the other factors that are at play.
So what can you do about all this? Here are some suggestions:
1. Don’t take rejections, or lack of response, personally. It’s not about you and it’s possibly not even about your art. Remember that the recipient will make a fast, and very subjective, decision when he or she sees the artwork. So, don’t take any of it personally.
2. Follow up on submissions. Use the ‘did you get my email’ ploy I suggested above or a cordial or pleasant alternative. Don’t forget about them. It could be that they were too busy and just need a gentle reminder.
3. Keep at it. Persistence does lead to reward. Study the market, create new art, then revise it, redo it and make sure it’s the best you can do. After that, start another piece and another and another and another. Just keep at it.
4. Search for new potential licensees. Find out from your retail survey who is creating what, look up the companies, find them at shows, network, work your contacts, use social media to promote your art and start really connecting with key people at good companies that are seeking art for their products. Building a strong personal and professional relationship with a key person at a licensee means that your submissions have a far greater chance of being opened, looked at, and passed along for further consideration.
5. Redo steps 1 through 4, in any order you wish. Just persist, become the best artist you can be, and create art that is compelling, mood-enhancing, stimulating, inspirational or just plain pretty and promote, promote, promote your work. Do this, and you’ll have a decent chance of success. “
(Via ArtBistro.)
The Art of Good Collaboration
The Art of Good Collaboration:
“How to find an art partner and share artistic ideas successfully!
Collaboration is another word for teamwork. It’s the art of merging two or more creative whizzes, whether it is an artist and a writer, an artist and a photographer or an artist and a musician. This powerful partnership has the ability to create a massive explosion of creativity and result in an expanded, well thought out concept.
Collaboration is more than getting together to fuse your creative energy into a large piece of work. It doesn’t just happen in one day —it’s a long, committed process. But via this process, you will experience another person’s artsy mind and have the ability to dip yourself into another artist’s soul and hopefully take something from that (and I don’t mean stealing ideas) — think: styles, knowledge, processes. Collaboration allows artists to experiment, take chances, as well as learn from and teach others.
However, in order for this kind of creativity to reach it’s maximum potential, artists must follow these steps:
The first step is finding the right art partner(s)
This means finding your other artistic half. Not only must you find a strong artist, you must also find a strong artist with a mind for business. The following are a few ideal traits to look for in your long-term partner:
• They should have lots of art knowledge and be passionate about what they do!
• They should be open to any and all ideas, from the norm to the bizarre.
• They should have a different interest or style, but the ability to fuse two very different artistic ideas. This is best for creating unique work.
• They should be able to simultaneously communicate and listen.
Now although you’re searching for ‘the one,’ keep in mind that the other person is also looking for these traits in you. Hopefully you’ll be lucky enough to find someone you mesh well with — someone with whom you can connect with and share mind-blowingly awesome brainstorming sessions.
The second step is developing your goals together
You have your own art goals and your partner no doubt has his own too, but collaboration means compromise. You joined forces to achieve one goal together, so communication is a must and should be dealt with accordingly. There’s no room for egos here, so check them at the door.
Some goals to think about are: What would the project consist of; How long will it take; What is it’s purpose, etc. It’s similar to creating a design brief, only this time you have a second set of opinions. Figuring out the ultimate goal also means figuring out the process of how to get there. What kind of partnership will this be: a leader and a follower? How will you make the ultimate decision?
Throughout this step, being as specific as possible is worth the cramps you may feel in your hands from jotting it all down. All ideas, as well as what was spoken about during these meetings should be noted for future reference.
The third step is working as a team
Teamwork doesn’t mean one person does all the work — teamwork mean collaboration, compromise, and creativity. Collaborating on an artistic project is a big undertaking and to achieve a finished piece, your team should assign duties and roles and specify what each artist will do.
Sure, along the way, you’re going to find yourself in heated discussions and tempers may flare; we’re passionate artists after all. But remember, both sides must keep an open-mind for the project to work. Listen to what your partner(s) have to say and let them justify their reasons before jumping down their throats. Make it a point as a team to explain your ideas, rather than defend them.
Remember, the two (or three, or four) of you got together to create something artistically beautiful. You were attracted to each others different styles, creativity and thought processes. You decided to join forces and merge these different talents and skills to form a concoction you hope will enrich minds and leave your viewers in awe.
Good luck on your collaborative endeavors!”
Featured Author: Elisha-Rio Apilado
Elisha-Rio Apilado is a Chicago based graphic designer/illustrator and studio artist whose paintings and drawings have been featured in various exhibitions. Elisha studied studio art in Dallas, TX and moved back to Chicago where she obtained a B.F.A. in Visual Communications at the IL Institute of Art. She is currently diving into the career world of design while taking on freelance gigs and volunteer work.Her portfolio and blog of random art findings can be found at erioapilado.com. Join her Facebook page or follow her on twitter where her daily art adventures are posted.
(Via ArtBistro.)
Ex-Gehry Architects Devise Eco-Powered Vision for Inglewood, CA
We just put out a call-to-artists for something on these lines. A look at a more livable environment and ways the creative professionals can have a positive impact and influence on the urban landscape.
Urban Public Art & Design – Beyond the Gallery
Ex-Gehry Architects Devise Eco-Powered Vision for Inglewood, CA:
“Inglewood, California: Finally up to some good? A couple of Gehry-office expats have concocted an ambitious master plan to turn a broad swath of this depressed California city of 112,000 into a foliage-covered, wind-powered, mass-transit, natural spring water-spewing eco oasis. As the Architect’s Newspaper reports, Inglewood-based architects (fer) Studio want to create a full-blown ‘system of urban agriculture’ — a lofty goal in any city, but especially in a part of the world where ‘green’ means something very different from ‘environmentally minded.’ The craziest part: They might actually make it happen.
(Fer) Studio has been lobbying the local city council (though the Architect’s Newspaper describes it as ‘a fairly conservative’ body) and recently submitted their proposal to the Living City Competition, a contest for envisioning a city that adheres to crazy-strict environmental standards. The winner scoops up $125,000 and tons of media coverage. Obviously, it’ll take more than that to turn Inglewood into the sparkling green redoubt (fer) Studio dreams of, but it could be an important stepping stone and precisely what’s needed to start proving Dre wrong.
[Images courtesy of (fer) Studio; hat tip to Architect’s Newspaper]”
(Via Co.Design.)
Call-to-Artists – Beyond the Gallery
Urban Public Art & Design - Beyond the Gallery
Art practices that exist outside of the confines of the gallery have a long history that include genres such as land art, eco-art, public art, and social practice art. This short listing, though far from complete, is meant to provide a platform for understanding the scope of creativity outside the boundaries of white cubic space.
The aim of this call-to-artists is to exhibit Urban Public Artworks that fulfills its traditional role while pushing the envelope of social space, and even technology, to actualize itself in harmony with the urban and natural environment. In doing so we would like to provide examples of Urban Public Art that can inspire people. These can be completed projects for which you have visual and written documentation, or they can be models or maquettes for a project yet to be realized.
“My dream project idea was not selected for implementation, can I submit that?”
Yes, we want to see your dream project idea, or public art submission was not chosen, we are especially interested in seeing it.
These projects can take many forms. We are thinking about Urban Public Artworks that provide energy, sustainable gardens, realistic transportation solutions, and outdoor multipurpose venues, large scale, or just some small feature. It is up to you, the artist, to submit your ideas, projects, or plans. We are open to whatever you have to offer.
Urban art and design projects are supported in the public realm with creativity, inspiration, and financial support. When urban communal spaces become more humanized they grow culturally and economically, inspiring the various populations that use those spaces in many exciting ways. This is what we are looking for, creativity and inspiration, notions that can be realized, actualized, and carried forward into the future of S. Florida.
This call-to-artists seeks out projects, realized or experimental, that play with those notions.
To apply for this exhibition call, please read and follow the below information.
Every application must have:
- *Proposal statement
- *Artist résumé
- *Artist statement
- *No more than ten (10) image samples (unzipped, max. dimensions of 800 x 800 pixels, 72 dpi.)
- Optional: Video submissions see below (no longer than three (3) minutes, queued at the beginning point for viewing submission)
- Optional: Additional Support materials (no more than two pieces of information from a curator, critic, or writer not associated with your project)
* Required with your submission via email.
All submissions will be reviewed a.s.a.p. Do not call about the status of your submission, we will try to respond to everyone via email. If accepted, you will be asked to submit a full proposal. SEND SUBMISSIONS HERE.
Application with video or large digital Files: Each applicant should create an online gallery of a coherent set of 10-12 images based around your project theme/concept, and include a direct link in your application. Do not link to your entire web site, but create a portfolio of images specifically for this application only. Your provided URL (web address – http://www.yourwebsite.com/beyondthegallery_portfolio), should be emailed to: contact @ artlab33.com, along with your Art Project submission.
DEADLINE: 31 MAY, 2011.
All accepted project proposals are subject to a small processing fee.
Art Naples Presents: Miami Wave
Art Naples is proud to present the exhibition “Miami Wave,” curated by Miami artist Sergio Garcia. Miami has since been promoted within Spanish and Latin American culture by means of a steady program of art exhibits, literature, film, theater, music and the humanities. It has evolved in tandem with demographic changes and the ever-growing cultural dynamism of Miami.
© Sergio Garcia (Center) at Miami International Art Fair 2011 Left: Antonio Guerrero
“During the these four days, the Art Naples will become a meeting point for participation and exchange. In support of Art Naples mission to highlight the dynamic world of the art and culture from Miami, I have enlisted 12 galleries with 16 artists to exhibit,” notes Mr. Garcia. For the first time in the art fair industry there will be a “live” web cam Art Talk titled, ”Are We on the Same Wave?” This will be a “live broadcast” Naples-to-Miami and back with a meeting of the minds with those tailoring the making of Miami’s 1st Biennale to be scheduled in 2012.
The “Art Talk” moderator in Naples will be led by Miami Biennale’s chief director, Jorge Gutierrez. In Miami at the Biennale’s headquarters, the 25,000 sq.ft Dorissa building in Wynwood, the Art Talk will be led by Miami Biennale’s founder, Milagros Maldonado, and its director, Ariana Testamarck Orellana.
Sergio Garcia presents a wave of work that has been brought about through a dialogue among the arts with a pre- selection of the “Best Of Miami” contemporary art. This show, as the curator says, “is only the tip of the ice-berg.” From painting, drawing, photography, sculpture, objects, and installation, this show will captivate us with its beauty and outstanding quality.
Participating artists: Edouard Duval-Carrie, Angel Vapor, Andres Michelena, Ciro Quintana, Alejandro Mendoza, Phillip Ross Munro, Lillim Cuenca, Onajide Shabaka, Octavio Cuellar, Antonio Alonso, Mariano Costa Peuser, Jose “Tonito” Rodriguez, Luis Delgado, John La Huis, Sergio Garcia, Andres Ferrandi, Maria Font.
Participating galleries and institutions: Miami Biennale Foundation, Bernice Steinbaum Gallery, Aldo Castillo Gallery, Hardcore Gallery, Black Square Gallery, Kavachnina Contemporary, Dina Mitrani Gallery, Seth Jason Beitler Gallery, Artlab33 Art Space, Space 4004, and LMNT Contemporary Art.
For more lecture information, participant biographies and programming updates please visit the Art Naples website at www.artfairnaples.com or call 239.949.5411.
<via: Cuban Art Project>
Build Your Project Proposal
Have a project that’s been languishing on the back burner? Let’s get it done!
The best way to get that project moving forward is to get some expert help. Your lead workshop facilitator has experience with successful project proposals and grant writing. Come join us for the day in Broward and get your project back on track!
Hands on workshop covering all the necessary areas for a project proposal, including: participants, description, process, budget, all with hand-outs.
What you’ll get, details and more!:
Components of a Proposal
Executive Summary
Project Description
Budget
Individual Artist or Corporate Information
Résumé
Conclusion
Support materials
Workshop participants limited for one-on-one attention.
10 a.m. to 3 p.m. (lunch break included)
RESERVE YOUR SPOT NOW!
Three-by-Six (“3×6”)
Three-by-Six ("3×6")
Three-by-Six (“3×6”) is a summer media arts event in Miami, Florida; a cross between an art show and a film festival. On each selected evening, six curated short video, film, performance, sound, or other time-based combination works will be presented.
—–
Program #1 – 8 May, 2010
Program #2 – 12 June, 2010
Program #3 – 12 July, 2010
Theme #1 : #phrasesihate (a twitter trending topic) – on 27 May, 2010
Theme #2: Likin’ – on 24 June, 2010
Theme #3: Obsess’n – on 29 July, 2010
Your valid Email:
Your phone (if residing in Florida):
• URL (http://…. )
• Email (under 3MB to printcollection@gmail.com)
• CD/DVD (over 3MB through postal mail)
• I grant my permission for these uses.