Archive for the ‘Creativity’ Category

On the Specialness of Art

Wednesday, May 12th, 2010

This is a huge topic that deserves its own blog, so I offer few answers, but hopefully some fodder. Via Edward_Winkleman, an open thread about “whether or not art should be special.” Winkleman quotes a commenter who is fed up with the US art collector scene, ostensibly having found “better opportunities” outside the US,

On a personal level I feel that the object-based model (artist makes object, collector buys object), leaves something away from the experience. Art needs to re-enter life and to affect people at large as gestures, as life choices, NOT just as objects. “Art” is too concentrated in the small confines of the artworld and let’s face it, not everyone will fit that mold. “Art” needs to step out of its specialness and to re-enter the world as something more mundane.

Winkleman captures my ambivalence about this oft-repeated argument: art needs to be accessible, less elite, more inclusive, etc.

I’ve been hearing sentiments like this for some time…But somehow, I resist it. Not sure why. One knee-jerk (meaning, taking no time to consider seriously) answer would be that it’s not profitable, but very little about many of the projects we support are profitable, so I sincerely don’t think that’s it.

But the part of that statement I keep coming back to when thinking about it (and I do appreciate the commenter’s sharing it) is this:

“Art” needs to step out of its specialness and to re-enter the world as something more mundane.I’m truthfully not sure what that means.

If I can put words in his mouth, Winkleman goes on to describe how art is not, almost by definition, mundane. I’m inclined to agree with him. Art is distinct from mundane things and experiences,” or in other words “stuff that we take for granted”. I mean, who ever gushes to their friends about how they must go see the latest opera or gallery opening because of how “mundane and accessible” it was?

Of course mundane and accessible are two different things, and depending on how are we defining accessible – the issue is confused further. Do we mean accessible in the most literal sense of more people having more access to the arts in general? Then, congratulations! Never before in history have so many people had so much access to so much art via the wonders of reproductive technology. See Tyler Cowen’s “In Praise of Commercial Culture” for a thorough exploration of this topic.

Despite Walter Benjamin’s famous assertion that reproduction destroys the soul of art – I’d argue one would have to make a strong case against what I consider the clear advantage of technological advancement as far as accessibility is concerned. For example – what is being able to hear a high quality recording of a music performance, in the event that price, time, or location does not allow one access to the live performance  if not, accessibility?

If we mean accessibility as in “widespread comprehension and appreciation of art for art’s sake such that the majority of people can effectively commune with art,” then good luck, and I have more questions than answers there.

Winkleman continues,

And yet, I hear echoes…all the time. “Art is too elite. Art needs to be accessible to more people. Art should be something everyone can afford.” But that sounds like previous calls for wider television or internet access to my ear. That sounds like we’re attempting to reduce art to just another channel for information distribution, rather than some vessel for a hard-fought battle to transcend the mundane.

I don’t know…I guess I have enough mundaneness in my life already. Consider this an open thread on whether or not art should be special.

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Art for Health Care

Wednesday, May 12th, 2010

Via Bad at Sports,

Woodhull Hospital in Brooklyn is letting artists of all stripes pay for their medical bills by trading “credits” they earn by donating their skills & time to patients in recovery. The program called “Artist Access”  was born last year, when Dr. Edward Fishkin, Medical Director of Brooklyn’s Woodhull Medical and Mental Health Center, met Laura Colby a former dancer turned performing arts agent.

The Artist Access program allows artists to provide interactive art programs for patients in exchange for health care credits. The  credits are deposited in the artist’s personal account, 40 credits for each hour of work which equates to about 40$ [sic] an hour and can be used to cover sliding scale fees in Woodhull’s HHC Options program.

BaS author Hudgens asserts, “[The Artist Access Program] isn’t a soulution for the masses and looks to be a buracratic ousourcing [sic] of rehabilitation entertainment & inspiration program development but it’s a brave step in the right direction…” I cannot say I agree that this program is a mere bureaucratic solution in avoidance of regular rehab entertainment expenses, but I do think it is a creative solution to the perennial problem of obtaining adequate health care for artists who do not make enough money on their own to purchase health insurance or who do not wish to get a day job just to obtain insurance.

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The Art of Transformation: Economical and Inspired

Sunday, May 2nd, 2010

I was absolutely floored by this incredible transforming apartment featured on “World’s Greenest Homes

I think this video of architect Gary Chang’s home is not only a wonderfully executed exercise in economizing and what could be considered “green” living, it reveals how solving a problem with design has resulted in a visually appealing and artistically inspired minimalist space.

If you are a regular reader of home and design magazines like Dwell, or a hilarious favorite blog of mine “Unhappy Hipsters” you might be as shocked as I am how frequently so-called “green” designers are praised for what appears to be wasted space and resources on sprawling homes, estates, or abandoned-car-washes-cum-trendy-boutiques replete with sustainably raised, scavenged, and/or otherwise fair-traded everything-under-the-sun. (Don’t forget, they are wearing the latest and greatest organic fashions.)

Many of the 10 page photo spreads read more like, “How to Buy/Sell Tons of Designerly Stuff No One Really Needs While Living in Expensive Cities Yet Still Be Able to Justify to Yourself and Fool Everyone Else Into Thinking You Care Deeply About the Earth and the Plight of Those Less Privileged.” Don’t get me wrong, I don’t mind anyone living any way they like or buying whatever they desire. What I don’t appreciate is the holier-than-thou attitude of many of today’s Green Elite. You’ll have to forgive me if I don’t see their fashionable excesses as rather un- “green” myself. It is designers like Chang, who live out their principles while utilizing inspired design that really impress me.

Artists: Do You Feel Compelled to Work for Free or Barter?

Monday, April 12th, 2010
A newspaper illustration depicting a man engag...
Image via Wikipedia

I found this conversation-starter on ArtsBizBlog to be a good one and enjoyed reading the comments that rolled in. The dilemma:

Sometimes it’s great to trade your art for a service or other product.

Then there are the times when you don’t really want what the other person is offering.

Matthew Kowalski wants to know: “What is the polite, friendly way of saying you would prefer to be paid with money?”

I particularly liked commenter “Carla’s” approach:

I have a barter policy written, and I can refer to it for these conversations. It is not posted for the public, but it reminds me of my boundaries.
The high points include:
Barter agreements are for no more than 50% of the price of the work.
I will discuss barter only if I am in profit that month.
I have a limited number of barter sales I will consider in the calendar year.
If I do not want what the other person is offering, I suggest a payment plan. In fact, that option is part of any barter discussion.

She’s one smart cookie. An unofficial or official barter and sales policy could go a long way to making those awkward “So, how much do you charge for something like this?” or “Would you be willing to reduce your price/barter/do this for free?” conversations go much more smoothly.

I barter my voice teaching services (in fact, that is how I scored this lovely web design as well as some incredible martial arts lessons from an Olympic athlete!) – so I think barter is appropriate in many situations where you really feel the value received meets or exceeds what you are offering (the definition of free and fair trade, actually).

However, I find truly valuable barter propositions are few and far between, especially when they are framed as “exposure.” Commenter “Erika” shares my annoyance at being asked to perform at events for mere exposure,

I get this all the time with the exchange being use of my art for ‘exposure’. I don’t want any more exposure – I want money! But they always seem to find an artist willing to do the freebie (I used to do that too, until I learned better).

Don’t get me wrong, exposure is great and incredibly important for artists who have no resume and are trying to build a reputation – but I’m not. I’m no superstar, but I have reached a level of involvement in teaching and performing where I’m satisfied and I do not need to do a bunch of free gigs to get my name out.

Furthermore, I already do a lot of free singing for things I think are important based on principle (part of my unofficial policy I suppose) – from volunteering my services for arts organizations trying to raise money, to celebrate and/or represent my ethnic heritage at a music festival, or for funerals and memorial services in particular – I often don’t feel right accepting money when I am  asked to sing for these types of events.

However, I feel that all too often, artists are undervaluing themselves and are afraid to put a high enough price tag on their talents, even though the competition can be fierce – with so many other artists willing to gig for free – at a certain point you need to start charging adequate prices for your services, especially if you are a proven talent.

A friend who is an accompanist quoted his rate to me once and I know he saw my eyes turn into giant saucers. He responded with, “Look, I’m not charging to put on a tux and show up for the 2 hour gig. I’m charging for the years I’ve spent practicing, the uniqueness of my repertoire, and the debt I’ve amassed educating myself – I am charging for my expertise, not just my body on the piano bench. That’s what doctors do!” All artists should have that kind of confidence to assess their skills and charge adequate prices for their services.

But pricing can be a confounding thing and there is no one-size-fits-all-artists solution, so if you are interested in more advice about pricing, I highly recommend some pages out of my favorite micro-business and entrepreneurism blogger’s playbook, Naomi Dunsford of IttyBiz, who writes about pricing strategies:

How Do I Figure Out Pricing?

Goldilocks on Pricing, or Why You Might Not Want to Charge $5 for your Ebook

Remember, as an artist, you are also an entrepreneur as you are often a one man or one woman show trying to prove yourself and your art/talent as a product in a mass market. You need to not only learn business skills but have the guts to implement them by assessing, then asserting your worth to potential buyers in the marketplace.

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Arts and Economics Links of Interest

Sunday, April 11th, 2010

With today’s dysfunctional families you need to do things different,” Xvala stated, “so instead of making useful furniture and meaningless art, I made meaningless furniture and useful art.”

One of the artist’s most well-known works is the recent construction of “The Brangelina,” a 4,000 sq. ft. house, covered in graffiti and hosts the ceiling piece, “Brangelina Forever” by sculptor Daniel Edwards.

The Government Hates Young Workers, Especially Women

Saturday, April 10th, 2010
LANSING, MI - MARCH 17:  Michigan Democratic P...
Image by Getty Images via Daylife

I had no idea the topic of unpaid internships was so contentious when I first blogged about it on Let’s Level the Playing Field by Ruining Everyone’s Chances, as it elicited vociferous and emotional responses from readers and fellow arts bloggers alike. I assumed it was clear that by forcing arts organizations to pay set wages for specific periods of time, it would reduce the availability of internships and ultimately hurt the pool of hopeful interns trying to get their foot in the door. In the already-competitive world of the arts, depriving interns of choices just makes it that much more difficult to get necessary experience and resume-building opportunities.

Since then, the unpaid internship debate has been making some headlines, with pro and con opinions abounding online.

Wall Street Journal, “War on Interns: Making It Illegal to Work for Free”

While the Department of Labor may insist the world owes these kids a living, the truth is that many young workers are willing to trade free labor for a chance to demonstrate their skills and build a resume for the next job. Especially in a bad labor market, the choice college students face may be to work without pay, or hang by the beach.

This isn’t exploiting young people. It’s letting young people exploit an opportunity.

The Washington Examiner, “Obama’s war on internships (and female employment)

Pricing interns out of the market proves especially salient for women, who make up 76 percent of the internship pool nationwide, according to the American Psychological Association. When opportunities evaporate for would-be unpaid interns, women will be the hardest hit.

The Future Majority “Unpaid Internships Bridge on Slave Labor

Despite the overall con opinion, even Future Majority writer says,

I’ll admit I did unpaid internships while in college full time and working part time and many of the innovative online experiments I run in campaigns I am only able to do with the support of a staff of unpaid internships because campaigns don’t want to pay their staff to try new things. So I rely very heavily on interns both for support staff and for new and sometimes crazy ideas.

To be clear, it appears the administration is only cracking down on unpaid internships with for-profit organizations, which seems it would not greatly affect non-profit arts organizations, but who knows what the future holds.

The major flaw in thinking with those who want to crack down on unpaid internships is they believe organizations will replace all previous unpaid job opportunities with paid opportunities and pull from the same pool of unexperienced workers. Like it or not, most internships often include a component of “real” work in addition to the educational experience that is supposed to be provided, and employers offering internships are likely to be more discriminating about the prior experience of applicants when they have to pay for it. Furthermore, it seems odd to have to pay a student to give them an education – this model is unlike any educational model I’ve seen – which all require payment by the student for their learning experience (either through tuition or taxpayer support).

The most amusing response I read on the topic shed light on the ultimate hypocrisy of our government in this debate. From Donald Boudreaux of Cafe Hayek:

It’s unclear, however, why the same young people whom the President judges to be unfit to choose for themselves whether or not to work as unpaid interns at for-profit firms are fit to choose for themselves whether or not to work as unpaid interns at not-for-profit organizations.  So I urge this administration, which is ever-vigilant at protecting us from our irrational and helpless selves, also to prohibit young people from working as unpaid interns at not-for-profit outfits – such as political campaigns.

Indeed, Mr. Obama should not only apologize to the thousands of young, unpaid volunteers whom he exploited in 2008 for his own profit – namely, to win his election to the highest pulpit in the land – he should also give to each and every one of them back pay (with interest) for their efforts on his behalf.

The bottom line in this entire debate is that people should be free to work for free if they want to. End of story.  The argument that young people are too stupid to make the decision to work for free and are being exploited because they are afraid to call out evil would-be employers is just laughable! I’m assuming they are equally free to quit the job? The argument that only rich kids can afford to work for free is equally comical.

Again, increasing the wage of internships will not increase their availability and many people need to work for free to gain experience. If someone truly cannot afford to work for free, their path may be longer and more indirect or they may need to work two jobs (one paid in an unrelated field and one unpaid) in order to gain experience. The reality is, an unpaid internship is simply a formalized extension of the oldest business and networking advice, “Do people favors for free.” This puts you on their radar, shows you are a go-getter, and makes you far more likely to get a paid position when it becomes available.

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Guerrilla Arts Marketing Techniques

Saturday, April 10th, 2010
Lonely Musician
Image by AndyRamdin | Ducked.nl via Flickr

For those of us in the arts, building an audience is almost as important as, if not more important than developing your craft. You might be a genius musician, but it won’t do you much good financially if no one knows about you and, according to Greg Sandow, if you don’t make a point to connect with and get to know your potential audience.

Sandow writes,

As part of the project I’m doing at the University of Maryland, members of the school’s symphony orchestra went out to the student union, and started practicing their parts for Strauss’s Heldenleben, the big piece on their upcoming concert…Did the other students at the Student Union get more interested in the  orchestra? Did any of them come to the concert?

During my visit to the Yale School of Music last week, a student told me about something very like what the students did in Maryland…Some undergraduates started an orchestra, and held rehearsals in some public place on campus, to develop interest, and of course an audience. And in fact a lot of the other students who encountered the rehearsals seemed very interested.

And then what happened? Hardly anybody came to the performance!

So, what is the message here? Sandow is careful to note he is not making blanket assumptions about the outcomes of “guerrilla marketing” techniques such as providing free sneak previews of your work, but offers that simply showing up and giving people free stuff is not necessarily taking full advantage of the opportunity you have created.

He has some great suggestions,

It might not be enough to do guerrilla promos for an event. You have to follow up.

What would the followups be?

…you need to talk to people who watch you rehearse/practice/whatever unexpectedly in public. Make some friends. Get some names! Put these people on an email list. Make them your Facebook friends. Get them following you on Twitter.

You might also try what Peter Gregson did so successfully on the BBC Proms website last summer. Bring a video camera when you show up guerrilla-style in public, and film conversations with people hearing you who seem interested. And, maybe, with some who aren’t interested! Then put these conversations on a website, or a Facebook page. The idea is to get these people to send their friends to your page, to watch the video. And, of course, to find out about your project, as inevitably will happen.

He goes on to list a lot more great ideas, so read the full post. However, it strikes me that a lot of times artists are not short on ideas for promotion, even for free promotion – some of them just do not have the personality for promotion. Some of them are too shy to start a blog, be on YouTube or tweet about themselves. I think another reason artists do not do a great job promoting themselves is that they may simply not have enough time! It is a lot of work promoting yourself as an artist or your arts organization.

According to a fine art photographer I know who supports himself entirely with his art, he says he spends 90% of his marketing and gigging at art fairs and photography workshops. The other 10% of the time is spent shooting photos. Of the time he spends shooting, he says 90% of it is on capturing images he know will sell, and only 10% on things he likes (abstract images) that do not sell as well.

The reality is, being an artist is just like being an entrepreneur. Especially if your idea (your art) is unproven, you have to work that much harder to promote yourself. I think a lot of artists do not realize just to what extent the life of an entrepreneur is a challenge and exercise in sheer stamina.

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The Artist as Entrepreneur

Thursday, April 8th, 2010
Salvador Dalí 1939
Image via Wikipedia

I do not know why I did not think to post this earlier, but due to popular demand and some of the great commentary my recent post received on Brazen Careerist, I’m posting one of my graduate essays on the topic of The Artist as Entrepreneur. This is something I have tried to impart to my students as a private voice teacher and something that inspires me both as an artist and an economist. There are ample examples of commercially successful artists throughout history. Learn from them.

While I know it’s bad form to quote oneself, I only do so to entice you into reading all 20 pages of The Artist as Entrepreneur,

As an artist studying economics, I’m often met with exclamations of incredulity when someone learns of my academic pursuits.  Comments usually have to do with the misconception that artists are not of the mind to bother themselves with matters of economics and money – they must be too busy creating, inventing, and dreaming…While many artists I know also think this way, I aim to show that to be a successful artist, in addition to holding a certain level of artistic competence, an artist must develop the business and finance skills that lead to successful careers for artists and non-artists alike.  The ability to market oneself, take advantage of economies of scale, utilize commercial dissemination of one’s work, and career skill set diversification are critically important to long-term fiscal viability.  As any entrepreneur will tell you, taking risks can increase career reward, and artists are often known for taking risks creatively and in their careers.  However, there is a difference between risks that can lead to growth, and risky professional behavior that does not lead anywhere.

The story of Salvador Dalí is one of many examples of artists throughout history achieving commercial success during their lifetimes…Because Dalí welcomed the popular demand for his style of work in the market and promoted it to gain profit, he was eventually ostracized from a community of surrealist artists he associated with who felt he was straying from their cause. Artist Mark Vallen quotes the following passage from Philadelphia Museum’s Dalí exhibit catalogue,

“[Art critic Andre] Breton had long thought Dalí’s art had become too commercialized and that Dalí’s growing fame threatened the unity and agenda of the Surrealists. His growing disgust with Dalí’s financial success as an artist led him to dub Salvador Dalí with the anagrammatic nickname ‘Avida Dollars,’ describing what he perceived as Dalí’s greed for money and fame.” (Vallen, 2005)

Other [commercially successful] artists include: Rubens, Tiziano, Rembrandt, Lenbach, Stuck, Picasso, and Beuys.  Composers and musicians include Mozart, Beethoven, Verdi, Wagner, Domingo, Pavarotti, Carreras, and Callas.  Authors and playwrights include Shakespeare, Goethe, Dickens, Hauptmann, Brecht, Thomas Mann, and Jane Austen.  All of these artists became wealthy due to commercial success during their lives (Frey, 2000 and Cantor, 2006).

There is no panacea that will solve the many difficulties of pursuing a career as a creative artist.  Though author Miguel de Cervantes is well known for his work Don Quixote, he struggled to find commercial success during his lifetime and was poor for most of his career.  However, his quote from Don Quixote, “It is the part of a wise man to keep himself to-day for to-morrow, and not to venture all his eggs in one basket” is apropos when thinking about one’s career or investments.  The approach to diversify and mitigate risk that has served great commercially successful artists and private sector entrepreneurs can serve today’s artists as well.

In the discipline of finance, it is common for investment professionals to speak of portfolio diversification, which is a method of allocating one’s investments among a variety of styles and vehicles based on an individual’s risk profile or tolerance in order to choose investments that match an individual’s willingness to bear a certain amount of risk.  “The principle of diversification tells us that spreading an investment across many assets will eliminate some, but not all, of the risk” (Jordan and Miller, 2009)

In the paper I elaborate on all these ideas and more! There are pictures too! There might be typos (I’ve already caught one, can you?)! Mainly, I hope what I’ve written can serve as inspiration for artists and fodder for debate on this important topic.

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Art, Intrigue, and Bureaucracy

Monday, April 5th, 2010
Federal Bureau of Investigation seal
Image via Wikipedia

Read about the conclusion to a botched art theft case that does not surprise me, but sounds like it could be an entertaining and informative read. From Boston.com,

The FBI was on the trail of recovering the principal masterpieces stolen from the Isabella Stewart Gardner Museum from a criminal gang in Corsica two years ago only to have its efforts dashed, in part because of bureaucratic infighting among federal agents and supervisors.

That is the conclusion of a nonfiction book written by a now-retired FBI special agent who posed undercover in 2006 and 2007 as a wealthy art collector interested in purchasing several of the paintings through two Frenchmen who had alleged ties to the Corsican mobsters. The French intermediaries said they could deliver the stolen Vermeer, valued at more than $100 million, and at least one of the two large Rembrandts that were taken. They were among the 13 pieces, now valued at $500 million, stolen in what is considered the largest art theft in history.

Wittman contends that the lead he worked on beginning in late 2006 — which he describes as the first credible tip received by the FBI — was sabotaged by the reluctance of FBI officials to overrule the FBI supervisory agent on the Gardner investigation who refused to allow Wittman to make his own decisions on the Corsican case.

Instead, the supervisor, who is only identified in the book as “Fred,’’ micromanaged Wittman’s interactions with the two French intermediaries even though he was unfamiliar with overseeing an undercover operation. At one point, Wittman writes, Fred tried to get Wittman thrown off the case by sending an official memorandum to FBI chiefs in Washington questioning whether Wittman was trying to delay completing the investigation until retiring so he could win the $5 million reward as a private citizen.

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Can Being an Artist Make You More Marketable?

Saturday, April 3rd, 2010
Daniel Pink speaking at the Chartered Institut...
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I love this topic. One might consider me biased since I’m an artist who now works in a more “conventional” field – but I cannot say my degree in music did anything to get me hired, from the standpoint of someone looking at my resume and concluding, “Why yes, I think your experience in the arts makes you perfect to work in the retail finance industry.” That never happened.

But could it be that the connections between music and finance, or the intense study of musical minutiae and the intense study of financial accounting statements are really tangible?

I’m not sure, but author Daniel Pink thinks so. In a recent speech he gave in California to teachers and administrators about “Innovation, Education, and The Changing World of Work,” he made the case that “whole-mind” education leads to better outcomes in education and ultimately, the workplace.

But there was more to it than that. Pink was in O.C. to talk about the importance of arts education in forming a well-rounded, competitive job-force warrior — apparently a subject of intense interest in Orange County, not only among teachers (of which there were many in the audience) but within the business community as well (they were the ones in the dark suits thumbing away on their Blackberries).
The buzz was palpable, and the mood among the people I talked to revealed the reason for all the excitement.

Teachers and school administrators are looking for new ways to justify the conservation of arts curriculum in an era of draconian cutbacks. H.R. types, trying to keep abreast of the rapidly changing needs and conditions of the workplace, are rethinking the definition of the well-trained and adaptive employee.

After Pink’s talk, the crowd was invited to break up into discussion groups. Among the topics: “Community-Based Arts Education Advocacy”; “Turn STEM into STEAM: Science, Technology, Engineering, ARTS and Math”; “Seeking Solutions to Closing the Arts Gap.”

“People are aching to have a thoughtful discussion and to hear an insightful speaker on this topic,” said Richard Stein, executive director of Arts Orange County. “Many people share Daniel’s belief that arts education should be a core curriculum subject. It’s a mistake to make it a frill or after-school activity. Many studies have shown that it’s key to the well-rounded education and creative thinking.”

It seems that the theory “a well-rounded employee does better work” makes sense, but how can this be tested, and proven. Furthermore, does it need to be? Does the overly-simplistic argument that “arts make us happier, better, more-creative people” have enough value to it? I know from my own experience, when I pull away too much from the arts, I feel the malaise of unproductivity – not because I’m not busy or not working, but perhaps its because my work tends to challenge only one part of me – the analytical and rational. Music and other arts are another outlet.

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