The Art Edge with Brian Sherwin

The Etiquette of Art Exhibit Openings: Artists Need to Remember What Exhibit Openings Are About

Some friends and I recently had a conversation about what is expected behavior-wise from artists at an art exhibit. We discussed some of the basics of what has come to be known in our circle as the expectations of art exhibit opening etiquette -- and shared stories about artists who crossed those lines during their exhibit openings. Needless to say, I felt it important to address the issue with an article in order to spur a debate about the topic. Point blank -- it is my opinion that the opening of your exhibit is not the time to reveal all of your negative traits to potential buyers and fans. It is vital to keep level-headed and focused on the here and now. [...]

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Art Gallery Representation: Some factors to consider. Part 1 - Distance

My intention is not to scare you off from pursuing long-distance gallery representation. That said, it is extremely important to consider the distance between you and the gallery that you are researching. Problems may arise as a result of the physical distance between you and the location of the art gallery. Consider the impact that distance may have. Keep that in mind... narrow your search if desired. [...]

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Trash Art Criticism

In general, we, the art community, don't ask artists to hide their work away because someone might be offended by it -- in that same light we should not ask critics to be less opinionated just become someone might be offended. We certainly should not threaten them until they delete or retract a controversial exhibit review -- I fail to see how anyone can complain about art censorship if we attempt to dictate what a critic should write! [...]

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Of dating sites and artist stereotypes

A lot of the people that responded to Cory warned against the stereotypes I mentioned as if they are based in solid truth. Several suggested that artists are 'odd' or 'crazy' -- a few implied that the person should expect a 'wild time' or ?emotional outbursts'. One could suggest that their comments further cultivate negative stereotypes that have long been the bane of the working artist. These factors work against the business-minded artist. [...]

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The Race to the Top

One of my classmates at Illinois College -- I'll refer to him as 'John' -- used to rant lively about his plans for mainstream success as an artist. John would often say, "All you have to do is have one museum exhibit. Just one! It will make you a household name." It was easy to 'ride the fantasy' with fellow art students during those youthful years. John eventually 'landed' his first exhibit at a museum. His fantasy did not take off. Let's just say that you would not recognize his real name had I chosen to use it. [...]

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Veteran Artists Continue to be Ignored

Art critic Tyler Green of Modern Art Notes stated the following in 2011: "The experience of war is substantially absent from recent American art and from America's art museums." He added, "A museum can't exhibit art that doesn't exist and critics can't review art that doesn't exist." Green went on to suggest that Americans have 'had it easy'. Green's opinion was echoed by other art writers shortly after his outlandish statements were posted. Needless to say, I was infuriated by his absurd statements -- and the speed at which other writers accepted his words as solid fact. [...]

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Copyright Registration: Protecting Yourself as Well as Your Collectors

Why are copyright registered artworks such a heavy blow to copyright infringers? Simple. By registering your artwork you prove by ?prima-facie' that you created the image at a specific time. The registration documents provide sufficient evidence to prove that the artwork was created before the infringement. In other words, the burden of proving the legality of using your images is placed on the copyright infringer-- which is nearly impossible for an infringer to prove. For a minimal fee you protect your career as an artist while at the same time protecting the interest that art collectors have in your artwork. [...]

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This is Not Indirect Promotion

I don't view it as a form of indirect promotion when an artist decides to copy another artist directly without acknowledging his or her source. I view it as someone trying to hijack what another artist has achieved. The deceptive artist may spur a lot of confusion in the process. The artist in this scenario does not care about you or any other artist. He or she is only interested in promoting the work as if it is not a mere copy. [...]

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Art Talk on The Edge: Interview with artist Tim Rees - Part 2


Artist Tim Rees notes that he has always had an affinity for drawing. That natural love for drawing eventually developed into a strong interest in painting realism. Informed Collector stated the following about Tim's work: "Loose, yet attentive, details partner with strong shapes and values to create captivating works of art." I recently caught up with Tim Rees in order to learn more about his work and thoughts about art marketing. [...]

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Art Talk on The Edge: Interview with artist Tim Rees - Part 1


Artist Tim Rees notes that he has always had an affinity for drawing. That natural love for drawing eventually developed into a strong interest in painting realism. Informed Collector stated the following about Tim's work: "Loose, yet attentive, details partner with strong shapes and values to create captivating works of art." I recently caught up with Tim Rees in order to learn more about his work. [...]

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