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Practical Handbook for the Emerging Artist

ISBN: 9780155014985 | 0155014986
Edition: 1st
Format: Paperback
Publisher: Wadsworth Publishing
Pub. Date: 8/18/1995

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SummaryTable of Contents
The multitude of contemporary professional issues facing today's artist are dealt with in a detailed, practical way in this handbook. Primarily designed to help visual art students make the transition from art school to their own art practice, this book is also an excellent resource for practicing artists. It is the first book to focus on all aspects of the emerging artist's career -- studio practice, developing ties in the artworld, documenting work, exhibitions, art writing, curating, financial and legal concerns, and graduate school. Resources in the handbook include addresses for journals, magazines, agencies and organizations that provide listings of art-related jobs; sample documents which serve as models, such as an artist-dealer contract; and instructions on researching sources of financial support for making artwork.
... MORE
PREFACEVII
I. GROUNDWORK1(24)
1. THE ARTWORK IS MOST IMPORTANT
3(8)
Developing Your Artwork
3(1)
Evaluating Your Production
4(3)
Artist Interview: Leon Golub
7(4)
2. MAKING CONNECTIONS
11(14)
Validation
11(1)
Sources of Information
12(1)
Artist Alliances
13(4)
Group Skills
17(1)
Mentors
18(2)
Artist Interview: Rupert Garcia
20(5)
II. GETTING YOUR WORK OUT AND SEEN25(132)
3. TAKING CONTROL OF SHOWING YOUR WORK
26(11)
Options for Artists in Major Art Centers
26(2)
Guerrilla Art
28(3)
Exhibiting in Small Cities and Rural Areas
31(1)
Artist Interview: Karen Atkinson
32(5)
4. YOUR SHOW
37(28)
Exhibition Calendar
38(2)
Mailing Lists
40(3)
Announcements
43(8)
Press Release and Press Kit
51(3)
Installing an Exhibition
54(4)
Preparing for a Performance
58(2)
Artist Interview: Steven Forster
60(5)
5. ESTABLISHED ART VENUES
65(20)
Kinds of Art Venues
66(10)
Juried Exhibitions
76(1)
Video Festivals
77(1)
Art Consultants and Artists' Representatives
77(2)
Artist Interview: Carol Ann Klonarides
79(6)
6. DOCUMENTING YOUR WORK
85(42)
Resumes
85(8)
Artist Statement and Concept Statement
93(2)
Visual Documentation
95(2)
35mm Slides
97(19)
Photographing Traditional Visual Work
98(15)
Photographing Performances
113(1)
Editing, Masking, and Storing Slides
114(2)
Black and White Prints
116(1)
4" x 5" Transparencies
117(1)
Color Prints
118(1)
Video
118(3)
Artist Interview: Kim Yasuda
121(6)
7. PROPOSAL PACKETS
127(12)
Cover Letters
127(3)
Other Materials
130(1)
Meeting with Curators, Dealers, and Exhibition Coordinators
131(1)
Alternatives to Sending Packets
132(2)
Artist Interview: Paul Berger
134(5)
8. WHAT TO EXPECT FROM PLACES SHOWING YOUR WORK
139(18)
Alternative Spaces
139(1)
College Galleries
140(1)
Museums and Municipal Galleries
141(1)
Business and Community Centers
141(1)
Commercial Galleries
142(1)
First Shows at Commercial Galleries
142(5)
Long-Term Relations
147(4)
Artist Interview: Werner Hoeflich
151(6)
III. POSITIONS OF POWER157(30)
9. WRITING FOR THE ART PRESS
158(9)
Benefits and Disadvantages
158(1)
Approaching Editors
159(3)
Artist Interview: John O'Brien
162(5)
10. CURATING
167(10)
Benefits and Disadvantages
167(1)
Formulating a Curatorial Project
168(2)
Writing Proposals
170(2)
Artist Interview: Louis Cameron
172(5)
11. CREATING A NEW ART SPACE
177(10)
Artist-Run Spaces
177(2)
Outside Support
179(1)
The Non-Profit Art Space
180(2)
Artist Interview: Suvan Geer
182(5)
IV. FINANCIAL CONCERNS187(80)
12. JOBS
188(11)
Finding a Job
191(1)
Letters of Recommendation
192(3)
Artist Interview: Kathy Vargas
195(4)
13. GRANTS
199(16)
Granting Agencies
200(5)
Writing a Grant Application
205(1)
Artist-in-Residence Programs
206(3)
Artist Interview: Lin Hixson
209(6)
14. OTHER FINANCIAL SUPPORT
215(18)
Public Art Programs
215(3)
Commissions
218(4)
Arts Organizations
222(1)
Support From Businesses
223(4)
Artist Interview: Jenny Holzer
227(6)
15. THE BUSINESS END
233(34)
Finding a Studio
233(2)
Health and Safety
235(1)
Insurance
236(1)
Keeping Good Records
237(6)
Legal Issues
243(19)
Contracts, Consignments, and Other Agreements
243(10)
Copyright
253(7)
Freedom of Expression Issues
260(2)
Artist Interview: John Baldessari
262(5)
V. GRADUATE SCHOOL267(20)
16. THE MASTER OF FINE ARTS DEGREE
268(19)
When to Consider Graduate School
270(1)
Making Preliminary Choices
271(2)
Researching Graduate Schools
273(4)
Admissions Applications, Financial Aid, and Other Requirements
277(3)
Artist Interview: Ken Little
280(7)
Appendix287(4)
Bibliography291(4)
Index295

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