Solo Exhibition S. Teddy d "WAR"

curated by Alia Swastika
AKILI ART MUSEUM
23 January to 10 February, 2010

A Never Ending Effort to Remain Human

An artist might sometimes be incessantly struggling with something that we often consider as cliché (and that is why we tend to view them as a group of romantic people) and stubbornly offer something that they see as new. In our journey to appreciate the works, however, we come to know that sometimes it is not novelty that we are after, and sometimes we are aware that the idea of novelty is akin to the idea of ghosts. In the works by some artists, we seem to be forced into witnessing the same old thing and, without our being fully aware of it, we are disturbed by the terror of something that remain invariably the same.

S Teddy D is an artist who keeps bothering me with never-ending questions, as well as statements, about violence and war. Since I became interested to follow his artistic travails in 2000s, the issue of violence has been consistently appearing in a variety of forms and media. When preparing for this solo exhibition, Teddy told me that the issue of violence is still bothering him, especially during this latest creative period. He still wanted to present a provocative exhibition that can make people talk about this issue again, after the deluge of political issues and a frenzy of environmental jargon overrun it.

Almost fifteen years and he is still talking about the same thing—this, naturally, made me rather worried. During a discussion, however, he said something that convinced me about his choice of theme. “I feel that I’m not yet done with all the questions I have about war and violence. Perhaps others see me as working on the same old thing. But this is not about others. This is about my own questions regarding the curse of violence that we humans have upon us. I still need answers for myself, to help me understand the essence of humanity.”

Teddy’s answer still rang in my ear until a few days afterwards. I reflected on the reasons why an artist creates his or her art works. Of course, to be connected to people, to observe the surroundings, is something that we have always considered, or agreed upon, as the obligation of an artist. Teddy, however, makes me think that the essence of creative idea is ultimately about the self, the individual, and the personal restlessness. It constitutes the freedom of thought that has become so invaluable. This “same old issue” is representative of the terrors that lurk within an artist’s mind—and that of each one of us—that need to reach its final course, to be concluded. And so here we are now, observing how Teddy struggles with his questions about war.

***

The visual images about war that have been reproduced for as long as the history of civilization make us see war from the perspective of the victims. Antiwar campaigns mostly use pictures of the victims as the subject, with the heart-wrenching gazes or faces without any light of hope. Somehow, apart from the critical questions about why wars take place, we have been mostly encouraged merely to sympathize with the victims. Pictures about the First World War, and the films that we watch long after the war, mostly speak for the victims. Every now and then, among hopeless faces, we see a town ravaged, houses razed down, blood spilled, and many more unforgettable images.

Of course, such spread of images is understandable. With such pictures of the victims, we have been encouraged to extend our empathy, to support antiwar campaigns to stop the increasing number of fallen victims and to save civilization. Studies done in relation with visual codes regarding wars, especially over archives such as photography or films (whether fictional or documentary in nature), show the significant role of visual symbols in historical data. In the subsequent periods, it has spurred the emergence of image makers (including artists) that play an important role in supporting the antiwar stance of the oppositions. In the US at the end of the sixties to the seventies, the antiwar movements, especially the one that opposed the American invasion to Vietnam, provided a common ground for the artists to reflect on the role they played in the society especially according the creation and uses of art works to move the people in opposition to the government. Apart from attacking the policy of the American government to enter Vietnam, the artists’ movement also succeeded in defending the rights of the marginalized civilians such as the Blacks, the homosexuals, and the feminists.

Compared to the photographers and documentary makers, the visual artists naturally have a very different approach to view the issue of war, considering how the medium itself necessitated a different logic. In the anti-Vietnam-war of the seventies, along with the beginning of the new art movement in the West, the artists started to use novel strategies to create works that could be reproduced and become a part of the antiwar propaganda, enjoyed by many. Andy Warhol, for example, created posters with screen-printing technique, conveying antiwar and antiracism messages. This proved to be a significant experiment in Warhol’s aesthetic journey. Jasper Johns, meanwhile, created works of collage that show his critical stance toward the policies of the US government in relation with their military deployment.

***

Teddy’s works in this exhibition offer us a different visual approach to observe the phenomenon of war. While previously we have seen Teddy’s works that talk in a more general sense about war (which has also to do with the power relation between the state – the military – the civil society), today Teddy tries to have a sharper focus on the issue of war. War is a rich issue that is no less expansive than violence, and the two issues are undeniably interconnected. Although he has a profound empathy for the war victims, as he watches the loss of hope in the pictures and documentary films that he found in DVD rentals in Yogyakarta, he seems to want to present a distinct visual terror about war.

Since the creation of his attention-grabbing work at the National Museum of Singapore —Teddy himself seems to think that the work exceeds his own expectation—Teddy has been feverishly creating new works. His workshop is increasingly full of people, always busy with never-ending activities. There is always a new work being made, new ideas being executed, or new sketches waiting to be given shape in reality. It is in such a feverish period that the works about war are being made. Passion not only makes the artist reach for form and perfection, but also encourages him or her to keep on seeking answers for the haunting questions.

With all the works that are on display today, Teddy clearly shows that the grand issue in war is that of power. Acts of occupation and expansion are about how power is maintained, although with ways that create many victims. Albeit following many actual political issues rather intently, in his works during the last three to four years Teddy has mostly been showing the confrontations between anonymous parties. One cannot directly pinpoint who is the party in power or the one conquered. Perhaps the map of power that has become too complicated is too difficult to disentangle, so much so that we prefer to bring forward the more common phenomena.

Teddy also shows his belief that the biggest loss that our civilization suffers in the event of war is the loss of individual freedom. Teddy believes that human beings are creatures of thoughts and feelings. The event of war, which create fear and threats of loss, makes people lose the capacity to think and create. The many symbols of human heads, which are indeed characteristic of him, can be seen as his way to talk about the forced loss of freedom and human rights in war.

Teddy generally views the military (or militarism) as a legalized tool to inflict violence and justify wars. There is a slogan that says: “militarism is the theory, while militarization and war are the act in practice.” Military symbols are therefore dominant in Teddy’s works—the most prominent being the work The Butcher, a series of Ronald McDonald sculptures colored in military patterns (of the US forces), holding guns. The work cleverly illustrates the relationship between militarism and capitalism; how the military is the extension of the capitalists that are supported by the government.

Apart from the military pattern that has long been an idiom in his works, Teddy now explores army figures with uniforms that point at the levels of the different officers. Such idiom has been used in his previous works, in the form of a line of army officer figurines made of metal in the height of 25 centimeters. Today, Teddy reuses these figures, turning them into something that is entirely different visually. In the work of trident, titled Thought, Lied, Action, Teddy puts the figurine on a head, resembling hair decoration of the punk community, while in another head he puts them in such a way as to resemble Mickey Mouse ears, and yet in another work it is installed in the mouth to resemble a cigarette. This seems to be a fun play of arrangements of forms, in which the military figures and the shape of the head are in dialogues, and every time the army figurine changes place, it creates a different meaning, showing the strength of its semiotic power.

The same head shape is also applied in another work, to give shape to another idea, especially one related with the loss of individual freedom in the event of war. The metal box in which the head is stored can indeed be read as a prison, as implied by the title (The Prisoner of War). Apart from taking lives (the right to live), wars also seize the freedom of living, in which other rights—the right to education, health, and a happy life—are being detained by the power struggle. Another work that uses a box is The Truth Ways, with visual images that offer a form of cynical humor.

While other works present several visual elements that have been used in previous works, in Humankind Make Their Own Disaster, Teddy introduces a new element. Apparently, he wants to talk about the issue of nuclear war in this work, as he connects nuclear atoms (or balls) with one another, creating a galaxy of sorts. Interestingly, this galaxy-like connection of balls might remind us of the shape of human brain, so much so that, in relation with Teddy’s choice of title, we can understand Teddy’s idea that it is humans themselves, with their minds, that move our desires for all kinds of creations that lead to destruction.

Apart from creating three-dimensional metal works, Teddy also explores intriguing ideas by making use of replicas of ruins made of resin. Each fragment of the ruins is incised with the text that reads “war for whom”. The work Tragical Script also shows a distinct approach with graffiti in its simple definition of text on walls. The fragments of the ruins are then arranged on a bed that looks like hospital beds. Out of all the works on display today, it is in this work, through the use of a hospital bed, ruins, and the text, we encounter the perspective that represents the victims.

Teddy’s paintings that are presented in this exhibition show his tendency to return to the old pattern that he has once left for quite a while. In his “successful” paintings, the obvious pattern shows that he can distill his universe of ideas and convey it in minimal visual symbols, with adept mastery over color and form compositions. His huge creative energy encourages Teddy for the last few years to create numerous experiments in his style of painting. As normal for experiments, not all of them result in interesting works. As an artist, however, Teddy keeps on searching for new ways to define and create paintings.

We can see the results of the painting experiments in this exhibition today. In some of the paintings, we can see how Teddy still has a penchant for experimenting with dark and intense colors, combined with bright hues such as flame-like blend of red and yellow (that he then links with the issue he is exploring: war). His tendency to become an expressionist painter is evident in his sharp and strong charcoal lines. In the works that are based on portraits, the charcoal lines appear as a strong element of identity for his works, especially when he wishes to convey a certain expression. The faces in Teddy’s paintings might on the one hand seem terrible, but on the other hand they look as if they are crying for help. There are gaping mouths. The fear to enter the womb . Such models are certainly very much different from the usual images of war victims. Apart from the expressions of fear and loss, which are generally the basic impression created by images of war victims, Teddy also offers a distinctive perspective in which the humans appear as strong subjects that have the willingness to take a stand in relation to the war itself.

***

In general, the exhibition of “War” that opens Teddy’s career in 2010 today constitutes a path of return after his previous solo exhibitions in the last few years fail to show his great potentials as an artist. We see how as he has gained an increasingly stronger position in the Indonesian art map (and probably also that of the Southeast Asia), Teddy presents his creative ideas in progressively higher quality, with richer visual symbols that show a vast knowledge in a variety of disciplines. The art community has known Teddy as an artist who likes to read and knows a lot of things, especially because he is interested in the political issues that are related to issues of human rights.

Teddy’s works show the genuine quality of his artistic practices, in which he tries to reach something that has been haunting him precisely because he wants to find the answer that he has been seeking, without worrying about how the issues might affect his career as an artist. It is this answer, or to be precise the truth, that he wants to attain through the practice of art; perhaps not to contribute more to the myriad ideas that have been recorded previously in this world, but simply to affirm what has been there and spread it further and turns it into a source of inspiration for many. (ptw from AliaSwatika)

Transubstantiation: A Collaboration by S Teddy D & Daniel Flanagan

Host: Kendra Gallery of Contemporary Art
Saturday, February 6, 2010 at 7:00pm --- Sunday, March 7, 2010 at 10:00pm




From different generations and cultural backgrounds, S Teddy D and Daniel Flanagan present together their collaboration on Transubstantiation. Although, empirically unchanged, the main idea is about presenting the how their artworks interact one to another.

S Teddy D, in this exhibition, leaves his shouts in ‘Art Merdeka’. Teddy’s transubstantiation emerges from his contemplation on substantial face as the new formulation or a new mimic. These mimics refer to important expressions, aesthetic yet enigmatic symptoms as well as sparks of ideological thoughts. He carefully sees human faces as important, digging a new physiognomy rather than reciting current facial mannerism.

Daniel gets himself inspired through trickster mythology referring to, those “heroes” are always succeed to shake the order of the world. They aim to the center of joints, the source of body movements of Gods or Kings. His paintings are based on the idea that the body doesn’t have to be complete but at the same time it needs to be close and far.

Both artists depict through their dialogue that a painting is a complex image that can either be simplified or complicated but in the end, it is a small fragment of the mind of its artist. (ptw from art event S.Teddy D )

Common Artist Questions Answered: Episode III

Q: Can you offer any pointers on how to sell my art successfully? These days, I'm not having much luck.
A: Well, two of the major keys to success in the art world are perseverance and determination. No matter how difficult things get, make it clear to everyone involved that you're here to stay and they'd better get used to it. Early in my career, I had a little saying-- "One hundred no's for every yes." And every time I experienced a setback, or someone told me to stop screwing around and get a real job, I redoubled my efforts to prove them wrong. And you know something? I did. That's one thing I love about the current economic situation-- the proverbial silver lining, as it were-- it challenges artists to prove themselves, to demonstrate the value of their art regardless of the circumstances, to go beyond, and to substitute complacency with resourcefulness, ingenuity and innovation. And here's the kicker-- America is still the greatest place on this planet to live if you're into creativity and freedom of expression. Use that privilege wisely and profit.
Q: I plan to go on the Internet, get the names of a couple hundred galleries in major cities around the world and then mail them postcards about my art. Any suggestions?
A: Yes. Forget it. Establish yourself locally and regionally before you go international. To begin with, no matter whom you approach, you have to have a reason, and "Hi, I'm an artist and here's a sample of my art" is not a reason. Target any prospective gallery individually and-- here's the important part-- explain how and why your art fits in with their agenda. Hint: It's not that they have walls and you want a show. In other words, your approach has to be about them, not about you. If you demonstrate a good solid understanding of a gallery, their artists, the types of art they show, and their history, and make a case about why and where you belong in all of this, then you at least stand a chance of getting noticed.
Q: I'm thinking about taking a course that teaches artists how to become better business people. Is this a good idea?
A: If there's one profession that does not lend itself to a cookie-cutter how-to-do-business approach it's that of "artist." You better hope that whomever's teaching this course is credentialed, respected and experienced in the art world, and not some MBA flunky who spent a couple of years at Three Star AAA Corporation and thinks it's all the same no matter what the product.
Q: When I contact a gallery, do I show them all of my art?
A: No. You show them what you're doing now. And if necessary, based on their responses or questions about your work, maybe show them what led up to what you're doing now. Also make sure you have your art organized into groups or series or themes-- two or maybe three or four distinct categories at the most-- and that you can explain each one clearly and effectively. Showing too much or showing it in random order only confuses people-- even galleries, even you. Your purpose when interviewing at a gallery is twofold-- to demonstrate your talent as an artist, but even more so, to convince the gallery of the voracity of your mission, your intentions, and what you are trying to communicate and accomplish. That's at least as important as the quality of your art. Galleries respect a good story line, and they like artists who know where they're going.
Q: I recently heard about an international art competition offering lots of prize money. They invite artists at all career levels to enter and participate. I'm just starting out and don't have much of a resume. Should I enter?
A: With any competition, you need facts. These include the number of years the competition has been in existence, the names of past prizewinners (especially ones with resumes similar to yours), attendance figures, sales figures, names of jurors, names of sponsors, names of museums or galleries that have been affiliated with past competitions, articles and news coverage about the competition in recognized art world publications and-- here's the biggie-- email addresses, phone numbers, street addresses, and other concrete contact information which will allow you to follow up and verify all claims made by the competition's producers. Once you have those, get on the phone and send out the emails. Your job is to make sure that this competition is recognized and respected by people who count in the art world. If all you get from the producers are generalities, a runaround, unverifiable claims, and promises to get back to you later with the information you want, then maybe pass on this one and wait until the next. Never enter a competition without fully researching and understanding it first-- unless you don't mind wasting time and money on dead-end flimflam.
While I'm on the subject (and for all of you math hounds in the audience), there seems to be an inverse proportion between the significance of a competition and the amount of money you have to put up to enter or participate in it. In other words, the more it costs, the less it's worth entering.
Q: Should I hire an artist coach?
A: I've always wondered... what exactly is an artist coach? Is this someone who tells you to direct your mind to a creative space? To look inward and harvest the bounty of the true you? To feng your shui? What you need to be successful as an artist are specific directives on how to effectively approach, create or present your art, and practical instructions that you can implement and apply immediately to your career-- not vague vacant airy-fairy motivational platitudes. For example, take an art class to learn how to paint better, attend a seminar or panel discussion that addresses specific aspects of the art business or of being an artist. Whatever you do or whomever you hire, make sure they teach a quantifiable skill, approach, method, or technique-- and that they have the art world credentials and qualifications to do so.
Q: An artist consultant tells me he can help me get accepted into prestigious competitions and maybe even get museum shows. He says he'll teach me how to write letters and give me other insider tips and pointers on how to get my art in front of curators who count. How does this sound to you?
A: Well, if you think that getting museum shows is a function of your letter writing ability or knowing "insider tips," think again. Last time I checked, the way you get museum shows is by producing museum quality art. Period. You work your way up the art world ladder just like anyone else by establishing a consistent track record of notable exhibitions, sales, reviews, and exposure. And at some point, assuming you've got the chops, museums begin to notice. There is no shortcutting this procedure.
Q: What's the best way to make a name for myself as an artist?
A: Get your art out there before the public in as many ways and in as many places as possible. The more people who see your art, and the more often they see it, the quicker you establish a "name" for yourself. Showing your art regularly and consistently is no different than any other form of advertising; the greater the number of times someone is exposed to a product (aka your art), the more familiar they become with it, the more likely they are to want to know more about it, and the best part? The more likely they are to buy it.
Q: How can I network better in the art world? I'm not good in social situations.
A: This is almost a corollary to the above question about making a name as an artist. Basically, you get out there in public as often as possible. Go to openings, seminars, lectures, classes, join local museums, and spend time at places or events where art people congregate-- where you feel a connection or affinity or share similar interests. Don't worry about feeling awkward or uncomfortable; you don't have to talk to anybody or do anything. Relax, enjoy yourself and have a good time; all you have to do is show up. You see, the more events you attend, the more acclimated you get to the social protocol of the art world, and-- here's the payoff-- sooner or later people come up to you and introduce themselves, start conversations, ask you questions, comment on the art or on what somebody said, etc. And believe it or not, sooner or later you'll start doing those things too. That's how art world relationships, business and otherwise, begin.
Q: How do I describe my art to people who've never seen it before? I'm not good at talking about my art.
A: Keep it simple; keep it clear. Let whomever you're speaking with lead the conversation. Pay careful attention to their agendas and questions, not to yours. Answer as directly and informatively as possible. Don't ramble on; don't answer questions people don't ask. And as tempting as it may be to overwhelm someone with your knowledge of art or art history, bite your tongue. As soon as you go over someone's head, that's pretty much the end of the conversation. Your goal is to keep people in the game, to incite interest in your art, and you do that by speaking their language, and giving them just enough to want to know more. By the way, if you get self-conscious talking about your art, practice at home or in your studio, either with friends or alone. Talk to a wall if you have to. The more you practice, the better you get, and the more at ease you become.(Alan Bamberger/www.artbusiness.com)

Common Artist Questions Answered: Episode II

Q: I want to put as many different kinds of art as possible on my website. I think that increases the chances that everyone who visits will find something they like. Is this a good idea?
A: I'll answer your question with a question. How often do you see a solo show at a good gallery where all the art is different? In one way or another, everything's related-- variations on a theme, you might say-- either unified by the show statement, the appearance, or some other variable. You see, what happens when you throw a miscellany of artwork onto your website is that you confuse people. They can't figure out what you stand for or get a coherent grip on where you're going or what you're saying. And confused people don't buy art. It's like walking into a store and seeing that they sell bananas, handbags, motor oil, and dog grooming supplies. You take one look, turn around, and walk right back out.
Q: Should I put selections of work from throughout my entire career on my website?
A: That depends. If your website is meant to be an online retrospective of your art, then yes. But if it's intended to sell art or get you shows, stick with what you're doing now. If you want to put up older works, limit them to art that's reasonably relevant to your present direction, and clearly separate them from your current work. The less relevant it is, the more you should think about leaving it off the website. Plus, you don't want potential buyers to get interested in art you no longer make. And please-- do not put up everything you've ever done since your first scribble at age two.
Q: Should I have lots of sold art on my website to show how well it sells?
A: No. Imagine walking into a store, seeing something you like, taking it up to the checkout counter, and being told, "Sorry-- this one's sold. You'll have to find something else." People who see lots of sold art may be impressed with your ability to sell, but they also get the impression that all the good stuff's gone, and all they have to choose from are the dregs nobody wants. If you want to put sold art on your website, be purposeful about it. For example, put up a handful of pieces that have sold to significant collectors, businesses, institutions, or organizations.
Q: I search online for art dealers, galleries, and other people with profiles in the art world. Then I email them images of my art with no text. I figure that people who are impressed or who want to know more will email me back and ask about it, want to buy it, or offer to give me shows. So far, I've had no response. Any suggestions?
A: Out of all the possible ways to present your art, this is unquestionably and by incomprehensible leaps and bounds the dumbest (the second dumbest is emails that begin with "Dear Sir/Madam") (the third dumbest is "Please visit my website and let me know what you think about my art"). People who receive these emails-- assuming they even open them, which most don't-- wonder, "Who are these bozos and why are they bothering me?" Here's a thought-- maybe put the art career on hold and start looking for a real job. Here's how to apply-- email companies your resume for no identifiable reason and with no explanation.
Q: You say to show locally at first and gradually expand from there. So does that mean I contact all the galleries in my area about possibly showing my art?
A: No. Hold off on introducing yourself to galleries in your area, and especially on requests for them to show your art. First, familiarize yourself with each gallery, one by one, see what kinds of art they show, narrow your focus to those that offer art similar to yours (and artists with similar career accomplishments to yours). Good times to do this are during exhibit openings or at other times when galleries are busy, so you can circulate in relative anonymity and assess the situations. Do your research in advance, determine who might be a fit, and save making contact for later.
Q: I'm interested in showing at certain galleries. What kinds of things should I say when I walk in to talk about my art?
A: I could probably write a dozen articles about this, but for the sake of brevity, and assuming your art is a fit with the gallery (which you have hopefully determined beforehand), here are a few pointers. Introduce yourself, go slow, make sure they have the time and appear willing to talk. If yes, then talk about them, not about you. Demonstrate that you're a genuine fan of the gallery, not just another artist looking for wall space. Assuming you survive those formalities, briefly explain why you believe your art is a fit with the gallery and back those claims up with FACTS about the art and artists the gallery shows-- the more facts, the better. Assuming you survive this, suggest that perhaps at some point they might like to look at your art. Good luck!
Q: I'm thinking about getting patents on my art to make sure nobody copies it. I want as many legal protections as possible. Is this a good idea?
A: OK. So you've invented something, right? What exactly is it? A new chemical configuration for paint? New equipment for making art? I'm not a patent attorney, but if you haven't invented anything, there's nothing to patent. Your art is automatically copyrighted once you make it, if that's what you're worried about. You don't have to file anything; nothing to be concerned about there. Related to this, keep in mind that any artist who gets a reputation for regularly invoking, or worse yet, engaging any aspect of the legal system is destined to turn off the overwhelming majority of potential dealers, galleries, and buyers. People love art because of the freedom, expansiveness, new ideas, groundbreaking concepts, and unexplored territories it represents, not because it restricts them with legalities. Use the legal system only as an absolute last resort.
Q: I don't want to show any art online because I think people will steal the images. How do I protect myself?
A: Buy a cave; live there for the rest of your life. Allow no one to see your art-- ever. In your will, leave directions to where your art is hidden, so that someone somewhere can show and sell it once you've transitioned to the great beyond.
Q: Should I have dealers, galleries, or consultants sign non-disclosure agreements before I talk to them about my art?
A: Well, if you want to get absolutely nowhere as an artist, yes.
Q: I'm having trouble getting shows at galleries. Do you have any suggestions for getting my art out there?
A: Try group shows, juried and non-juried shows, renting temporary venues with other artists and showing together, non-art venues, anything to get your art before the public. Whatever it takes, do it. Find out whether any of your friends or associates has access to public areas of buildings, meeting rooms, or similar spaces. Throw yourself a show. Try showing at places like coffee shops or restaurants, lobbies of office buildings, at someone's private home, and so on. The more you get your art out there, the more people see it, and the greater your chances of eventually landing a gallery. Build your resume one line at a time, no matter how insignificant an event that line represents. In the long run, it all counts.
Q: I don't put prices on my website because I want people to contact me about my art. Is this a good idea?
A: No. People don't like to ask prices because they don't want to feel bad or be embarrassed when the prices they ask for (which they won't ask for) turn out to be more than they can afford. How would you like walking into a store where nothing is priced, and having to ask how much anything you're interested in buying costs?
Q: Should I have a blog on my website?
A: Yes and no. Yes, if you update it regularly and develop an interesting storyline. That way, you attract attention, a loyal readership, and you show everybody how dedicated you are. No, if your entries are going to be unrelated or sporadic like maybe once every few months, because then you show everybody how undedicated you are. Realize up front that maintaining a good blog takes time, effort, and commitment. If you do it right, you'll benefit.
Q: I paint big-- between 3 x 5 feet and 4 x 6 feet. I'm having lots of trouble showing and selling my work. Any suggestions? Are there special galleries or places to show big art?
A: Here's the deal with big art-- people who buy big art (and galleries that show big art) generally like it to be by big artists, big in name that is. A few galleries cater to commercial concerns like corporate clienteles who need art for large spaces, but again, they tend to have very specific requirements for what they show. The truth is that most people who buy big art do so to impress, and one of the best ways to impress is with the stature and reputation of the artist who makes it. So if you're early in your career or are still building your resume, think about sizing down. Big paintings are OK to a point; they generally make your smaller pieces look better-- kind of a coattail effect. But the key here is to think seriously about producing more medium or smaller sized works, not only because they take up less wall space (and storage space), but also because they're more affordable. In general, the more options you can offer to buyers size-wise, especially early on in your career, the better. (Alan Bamberger/www.artbusiness.com)

Common Artist Questions Answered

Q: How can I find an agent to represent my art?
A: The "artist agent" is basically a myth. Art dealers and galleries represent artists-- that's about the closest thing to agents in artland, and they're the ones you should be contacting. A small percentage of artists have what you could call agents or representatives-- more like managers really-- but these artists tend to be highly successful and established in their careers, and so overwhelmed with dealer, gallery, museum, and collector requests that they hire professionals to handle their business affairs.
Q: I keep sending my art out to galleries and no one is interested. What am I doing wrong?
A: If you send your art to galleries you don't know or who don't know you or who aren't familiar with your work, this won't be productive and chances are slim that ever you'll get a show. Or if you send your art to out-of-town galleries without first establishing a local or regional profile, this likely won't be productive either. You have to network in your community, target specific galleries, make sure they sell art that's similar to yours, and be able to state clearly and concisely why your art is right for them.
Q: I've been making art for several years and have been in a couple of group shows at local galleries. Should I contact major galleries and try to get shows?
A: Let me ask you a question. If you're in a band that plays local bars and nightclubs, should you try to get a gig at Madison Square Garden? The art world is like anywhere else. You work your way up; you don't skip steps.
Q: Should I make limited edition giclees (inkjet prints) of my art?
A: Generally no, unless you've got significant name recognition and your art is in such demand that you can't make enough fast enough to satisfy buyers-- or that your originals have gotten so expensive, hardly anybody can afford them. Most people who buy giclee prints buy the "name" first and the art second-- they've read about the artist or seen a major show or all their friends own one, and they want one too. Also keep in mind that if you're not well known, a significant downside to making prints of your art (assuming you have plenty of originals to sell) is that you essentially compete against yourself-- people opt for your cheaper giclee prints rather than your more expensive originals.
Q: Should I invest in a website to show my art?
A: Yes, but don't pay a lot for it (unless you're rolling in bucks), and if you're not well known, don't expect to make sales anytime soon after going online. The problem with getting traction for a new site is that people who don't know who you are can't type your name into search engines-- which makes you mighty tough to find. Best procedure is to design a basic website and combine it with traditional face-to-face networking in your art community. A good starter website should include your statement, bio, resume, images of your work with prices, and how to get in touch with you. And no fancy shit like flash or music or blinking caterpillars that move all over the screen and you have to chase 'em down to click on 'em. When I go to an artist's website, I don't want to be tortured by some whack-off web designer's tech tricks. I want to see art-- that simple and no more complicated.
Q: Should I pay for gallery space on large art websites?
A: Perhaps, but don't pay much (some large sites offer free gallery space-- start with those). Large art websites are designed specifically to make money for their owners, not for the artists who sell on them. On many, the artists pay for show space whether or not they sell art. So right of the top, it's owners 1, artists 0. Sure, the better websites sell art, but they don't care whose art it is. For example, if a prospective buyer lands in your gallery, the site will suggest options to see similar art by other artists. There's no incentive whatsoever for that buyer to stay in your gallery (owners 2, artists 0). Furthermore, the larger sites offer many thousands of works of art for sale by many hundreds of artists, and the odds that someone will buy art from you are comparable to winning a jackpot in Vegas (owners 3, artists 0). The odds may be better if a site agrees to feature your art on a regular basis, but if you're one of the herds, don't expect much upside.
Q: Should I rent wall space at a pay-to-play gallery?
A: Depends on the gallery. Some are genuinely artist friendly, charge reasonable prices, and perform valuable services for their local communities by providing aspiring artists with a venue. Others are expensive, out for themselves, make big promises, and deliver little or nothing. Best way to research this type of gallery is to speak with artists who currently and have previously shown there BEFORE you pay for space.
Q: I get occasional offers to submit my work to directories of contemporary artists that say they print thousands of copies for national or international distribution. Submission may be free or nominal in cost, but if I'm accepted, costs range as high as several thousand dollars. In return, I get a page or two-page essay about my art and anywhere from two to five illustrations of my work. Yes or no?
A: No. Established respected directories like Who's Who in American Art (Marquis Who's Who) or New American Paintings (Open Studio Press) do not charge to be included-- you have to be accepted, though, and that's not easy (New American Paintings charges a nominal submission fee; Who's Who in American Art charges no fees). The ones that charge for inclusion are basically overpriced, poorly circulated, one-way tickets to nowhere that have little or no credibility in the art community. They're more about vanity than anything else, and if you apply, you can bet you'll get in. Why? Because that means you get to pay them hundreds or thousands of dollars. So what incentive do they have to turn you down? Right you are. Absolutely none. And while we're on the subject, what incentive do they have to distribute their publication? Right again. Absolutely none. They've already been paid. Plus this-- for the kind of money some of these publications charge, you can buy a display ad in a major glossy national or international art magazine, or build yourself a serious website.
Q: Can you give me some names of galleries, collectors, or agents that would be interested in my art?
A: The idea that someone established in the art business is supposed to give total strangers contact information is absurd. To begin with, they have absolutely no idea who you are, what you're like as a person, what you're capable of as an artist, or how you are to work with. The way the art world works is that people only refer artists who they already know, and they only refer them to dealers or galleries who they already know (and who already know them). Art business relationships are built on trust, familiarity, and successions of mutually beneficial transactions that accrue over time. No one wants to jeopardize his or her standing or credibility in the art community by arbitrarily giving out contact information to artists they don't know. When referrals are made, they're made for specific reasons, with specific intentions, with specific outcomes in mind, and between people who already know and trust each other.
Q: Everybody loves my art. How come I can't sell any?
A: Depends on your definition of "everybody." If you're talking friends and family, they love whatever you do (and even if they didn't, they wouldn't tell you). Try this-- next time "everybody" starts gushing about your art, ask which pieces they'd like to buy and how they'd like to pay for them. Love means lots of different things to lots of different people, but in the art business, love means $$$.
Q: Should I buy mailing lists of galleries and then send out introductory information about my art?
A: This is a complete total utter consummate waste of money-- and the art world's version of spam. You have no idea how the mailing list was assembled, what kinds of galleries these are, what kinds of art they deal in, whether your art is even remotely right for them, etc. etc. etc. Would you walk up to a total stranger and ask him to buy your art? That's basically what you're doing with galleries when you buy mailing lists. Galleries get these kinds of random intergalactic inquiries all the time. What makes you think they're going to look at yours when they throw all the others in the trash?
Q: I donated a painting to a charity auction and it sold really high. So I raised all my prices. Now I can't sell anything. What's the deal?
A: The money went to charity, not to your art. Charity auction selling prices generally have little to do with the value of what's being sold-- items sell way too low and way too high all the time. Many people who bid at charity auctions see it like this-- they donate money they intend to donate anyway, except when they donate it at an auction, they get free stuff in return (aka your art).
Q: Is it best to let my art speak for itself?
A: Yes, but only if you make talking art. Otherwise, you have to speak (or write) for it-- contextualize it-- so that viewers can better understand and appreciate what you're doing. It's like the difference between watching a play with actors dressed in street clothes on a stage with no set, and then watching the same play with actors in full costume and the stage completely set. The script is identical in both cases, but your depth of understanding and immersion in the experience is far greater with one than the other.
Q: Do I need to explain my art in terms of art history and talk about where it fits in?
A: Not really. About the only time you do that is when someone who understands art history asks. Most people don't know enough about art history to fill a thimble. And of the few who do know, most can figure out where your art fits in for themselves. What they want to hear is your story-- why you've dedicated your life to making art, how you've chosen to express yourself through your art, how you make your art, why it looks the way it does, what it represents, and how it conveys your commitment, beliefs, feelings, and opinions. A good honest story trumps an arcane disquisition on art history approximately 100% of the time.
Q: Should I mention names of important artists who influenced me when I talk or write about my art?
A: No. For example, if you say your art is influenced by Warhol, the attention is immediately off you and on Warhol. By invoking famous names, you leave yourself and your art open to being compared with those names, and unless it compares favorably, you're screwed. It's your art and you're the one who made it, so keep the focus on you. Let the critics drop names on your behalf-- that's their job.
Q: My art professors tell me that the way to succeed as an artist is to "go forth and make art." Is that right?
A: Professors who drench their students with that bucket of bullshit should be more honest and tell the truth, which is that they don't know how to succeed because nobody ever taught them, and if they did know, many of them wouldn't be teaching. Now I'm not knocking professors here; we need you dearly and teaching is an eminently honorable profession. All I'm saying is that it's OK to admit you don't know something when you don't know it instead of getting all noble and "go forthy" about it to insulate your egos. As an artist, you can transit the fine art marketplace effectively or you can stumble around like a cluck. So many artists at all stages of their careers make so many obvious mistakes that they would never otherwise make if only they had basic training in how the art world works. Once a work of art is complete and ready to leave the studio, it's subject to pretty much the same market forces as any other product. And using some or all of that art to generate cash flow is essential because you can only travel the creative road to success if you can afford to buy gas. Hopefully, more and more art schools will address the issue that artists have a better chance of surviving as artists if they understand a bit about how art and money mix, and hopefully, those schools will strive to graduate increasing numbers of students with a modicum of preparation in that regard. (Alan Bamberger/www.artbusiness.com)

Mari bicara....

Ini seperti tagline sebuah iklan minuman kemasan di televisi. Sungguh menyenangkan jika kita dapat berbicara dengan orang lain diselingi dengan minum teh bersama dan sepiring camilan, di lakukan di teras rumah dan diwaktu sore. Semua hal yang sebelumnya menjadi pertanyaan akan bergeser menjadi jelas dan dapat membuat kita yang terlibat dalam pembicaraan menjadi lega.

Ada kalimat bijak yang mengatakan, “kita tidak akan pernah sayang kalau kita tidak kenal..”. saya pikir kalimat itu benar adanya. Kita tidak akan pernah tahu pikiran dan rasa seseorang tanpa kita mengenalnya. Berbicara adalah sarana yang paling sederhana untuk melakukan aktifitas perkenalan itu. Meski bukan satu-satunya media komunikasi yang ada, selain ini kita dapat melakukan dengan media yang lain. Apakah itu dengan menulis, kemudian membacanya ataupun dengan bahasa gambar.

Yang ingin saya ungkapkan adalah bagaimana kita dengan mudah dan tidak takut untuk berbicara. kita akan dapat mudah mengerti apa yang kita inginkan, yang kita harapkan dan mungkin tentang mimpi-mimpi kita. Tidak mungkin akan ada kesepakatan kalau memang itu sebuah keinginan komunal kalau diantara kita tidak pernah berbicara. bisa jadi kalau ada sebuah alat ukur.. tentunya akan menjadi alat ukur yang sepihak. Karena yang berbicara cuma satu orang tanpa pernah punya lawan bicara.

Dapat menjadi kontra produktif kalau rasa dan pikiran kita, dituangkan bukan pada tempatnya. Dapat mudah sekali menjadi gosip atau kabar burung. Yang semakin lama akan semakin panjang dan penuh bumbu. Apakah kondisi seperti ini dapat menyenangkan kita? sebuah ketidak jelasan atas apa yang menjadi pertanyaan. Bagaimana kita akan mulai saling menebak dan mencurigai. Bagaimana kemudian akan menjadi sebuah kebingungan yang tidak berakhir.

Harusnya kita dapat mengakhiri ini semua dengan berbicara dengan orang yang tepat. Setidaknya akan memberi ruang untuk saling berdiskusi. Setidaknya juga apa yang menjadi beban akan berkurang, akan sedikit lega dan yang pasti tidak ada penasaran lagi. Kita sudah lama merdeka sejak lahir dan sudah dikaruniai dengan alat yang dapat member solusi atas apa yang akan menjadi masalah kita. tinggal bagaimana kemauan dan daya pikir kita untuk menggunakannya.

Mudah saja kan.. tinggal bicara!. Kita akan tahu seberapa dalam air yang tenang itu. Apa yang menjadi kegelisahan selama ini, saya jamin akan sirna dan beban itu akan berkurang, bagaimana? Apakah masih takut untuk berbicara? (ptw)

SELAMAT MENEMPUH HIDUP DI 2010

perjuangan masih panjang teman-teman, waktunya kita membuktikan apa yang kita ucap dan keluhkan kemarin. nasib masih bisa berubah, tergantung kerja keras dan dedikasi kita masing- masing. mari berjuang bersama.. rapatkan barisan, wujudkan!! (legenda'92)