Author:
Eric Hines

I can’t imagine a worse scenario for an eager and enthusiastic art student than enrolling in a over crowded art class run by a mediocre art teacher

In short order the student is set up for loss after loss. The basics of drawing and painting either not taught in an easy to duplicate fashion, that the art student can grasp, or very often they are not taught at all!

Quite Frequently the student makes the decision that drawing and painting is just too hard and gives up. The student will incorrectly find the fault with themselves, often with the self generated concept that they do not posses enough natural artistic talent.

Whereas most of the blame usually falls on the shoulders of the student, the true cause falls at the feet of the art instructor and poor instruction.

This is exactly what happened to my wife.

My wife is from Toronto Canada. She originally came to America as a student to study fine art in a university. The instruction was terrible.

Both my wife’s drawing and painting classes were taught entirely on the irresponsible method of “if it feels good go with it.”

Unfortunately my wife could not “feel” her way into learning basics such as capturing light and shadow, how to draw in proportion, the use of color and tone, how to sketch in charcoal, differences in working with oil vs. watercolors.

Needless to say she the only thing that she could “feel” good about was changing her major.

With hundreds of colleges and thousands of private art instruction schools across the country how does one go about picking an art instructor that will teach one how to draw and paint properly?

I was lucky enough to be able to ask Larry Gluck what one should look for when choosing an art school and instructor so one achieves their goal in becoming a better artist.

Larry Gluck is the founder of the world’s largest fine art program.

After 33 years employing hundreds of art instructors and teaching over 3,000+ students every week how to draw and paint this is the advice Larry has in regards to choosing an art teacher…

“Here are a few pointers on what to look for in a fine art teacher. I hope they help in your search for a good drawing and painting instructor.

1. Do you like the teachers work?

It’s important to respect what your teacher does. Now matter how objective he is about his work, he’ll teach you what he knows – and what he knows will be reflected in what he does.

On the other side of the coin, do not judge the instructor only by their artwork. Teaching art is not the same as creating art, and some teachers are very good artists but horrible instructors.

Others don’t have enough intention to help students through the rough spots. Although a teacher much have knowledge and talent to merit teaching his subject, the determination to help you and see that you indeed learn should be his top priority.

2. Does your teacher start with the fundamentals?

A gradual approach is necessary to learning. You start with the most basic fundamentals and continue from there. All to frequently the teacher assumes that you already posses a thorough knowledge of the fundamentals, or worse, the instructor is not familiar with them enough in order to teach them.

Also, some teachers are involved in the arts for such a long period of time that the use of the arts fundamentals are automatic, so much so that they are no longer aware of them. This of course, would be a terrible failure on the part of the teacher – but it does happen.

3. Are you actually improving?

If your art teacher teaches you the fundamental skills, on by one, ensuring you master each one before going to the next, your skills should improve.

If not, something is wrong with the instruction, not with you. A good instructor should be able to break the needed skills down into steps simple enough for you to learn successfully.

4. Are you being treated as an individual?

We all have different strengths and weaknesses. The good art instructor will realize this and treat each art student as an individual. A poor teacher treats everyone the same or has a few favorite students.

5. Is the class overcrowded?

If there are more than ten students with only one instructor, you won’t benefit from what he has to give you.

Since everyone is different in regards to ability and what one is aware of, there has to be a way for you as a student to to receive one-on-one instruction with the instructor.

6. Are you training with people you like?

It helps to learn with people who encourage and support one another, admire each others efforts, and are genuinely pleased to see other’s progress.

It would also help to have friends with whom you can also discuss the art form.

Companionship within the arts causes growth in the artist.

7. Are you pitted against others?

Some teachers feel that competition is needed among students is necessary to spur them on. It isn’t.

Perhaps the teacher will be less bored but it does nothing for students, particularly in the arts.

You should only be competing against your present limitations.

8. Is it a safe environment in which you feel comfortable learning?

You must feel safe and secure in all learning environments.

This is especially true when learning an an art form where the stakes are so high and the intimidation factor can be so great.

If you feel intimidated anyway when you go to class, it’s probably the teachers fault, even if the intimidation comes from other students.

A competent art instructor is in control of the students and is responsible for how they interact with each other in the classroom.

Some instructors intimidate students with an overbearing manner.

Some instructors will set themselves up as a major authority on the subject of art or unattainable examples of artistic talent.

Some favor a few students over others.

If this is occurring, find a new art instructor.

9. Is there criticism without help?

An overly critical teacher can make you give up.

Criticism without instruction on how to improve is hinderance, not a help.

Rather than continually pointing out what is wrong with what you are doing, a good teacher should give you tasks to do.

A student progresses by winning, not loosing. Ask yourself if you feel better since you started the class – better about yourself, your ability, and what you are doing. If not, change teachers.

10. Are you getting individual help?

Maybe her is a piece of information you don’t quite comprehend, or a technique that you just can’t put into application.

Does the teacher take the time to help you? Is the art instructor prompt with the help but patient with handling your question or problem?

Can the instructor get to the root of what ou are having a problem with and help you figure it out?

If not you are wasting your time and money.

If you aren’t getting better and having fun while doing so, your instruction is falling down on one or more of these points.

Review these ten tips and locate exactly what the problem is. If this turns out that you cannot fix this by speaking with your instructor, you will have to find a new teacher.

All art forms appear difficult to a beginner. A good teacher will show you not only that excellence is attainable, but also how.

You may think you cannot do it or feel you do not have enough talent, a good instructor knows that you can and will make sure that you learn to.”

About the Author:

Eric Hines has worked in the field of art for over a decade as a musician, art dealer and is currently employed by
Mission Renaissance
, the world’s largest drawing and painting instruction program in the world. He is currently taking art classes to
how to draw and paint
, very soon he will be selling his own art work and not just the works of others.

Article Source:
ArticlesBase.com
–
Choosing an Art Teacher May be the Most Important Decision an Artist Makes. How to Choose Properly

Author:
rukhsana

When Clear Channel controls the radio and the monopoly newspaper does not love you as you win new audiences?

The good news: There are many, many ways. Here are ten of my favorites.

1. The approach at the local college or alternative radio station or community access cable TV station programming idea how to live songwriter showcase. Other musicians will want to participate in your show, and you’ll build an audience for his music – and for them.

2. Recording a CD or concert reviews for the local alternative (or primary) document.

3. Give copies of CD out of the public radio and television stations for their fund drive premiums.

4. Organize, promote and perform at charity events for your favorite causes.

5. Lead songwriting and performing workshops in schools (as a rule, these payments concerts,

http://www.ticketfront.com
tickets and all parents to hear your name). Invite some children to perform with you, they always bring a bunch of relatives, and who will pay for the ticket, and perhaps buy a CD.

6. Declare your concerts in each community calendar. Newspapers, magazines, radio, public Web sites, cable TV stations – they all run the event lists. View of one paragraph, which includes the tag line that you do, for example, “Sandy, executing, River City’s’ homegrown Bono, ‘will perform labor songs and love ballads in the trombone stores, 444 4 Street in the city center river, Wednesday, January 15, 7 pm “When you receive a free or a charitable connection, say so. Include contact phone number and e-mail.

7. Find Internet discussion groups related to your case. Whether in the field of immigration, voting reform the world, safe energy, the right to choose … will not be discussion groups on the Internet. Post the answers and include a “signature” – short for the business card. Using different sigs for different purposes. Here’s one of mine (in real e-mail, it will be single-spaced):

8. Create a simple low-cost website. Include a few sound clips, pictures of you performing, a place for people to register your fan news, and links to your favorite musicians, and, of course, the route and schedule of concert availability.

9. Get exposure on other people’s sites. Write CD reviews, to support their music
http://www.ticketfront.com
tickets with an ad, submit articles about local music … and be sure to include your contact information and a statement that encourages people to visit your site.

10. Use the letters columns. Call talk shows. Post a message on a web forum … in a word, use any tool of feedback you have for the distribution of words.

About the Author:

TicketFront deals in all mega events around the globe. Our online ticket inventory offers best ticket deals for Concerts, Theaters, Sporting events and Las Vegas. We not only provide tickets for all sold-out events but we are your premium source of ticketing and venue information for all upcoming entertainment events. Whether it is a sporting event or a theatrical act, a live musical performance or shows at Las Vegas; we provide you best ticket
tickets
deals for each and every event around the globe.

Article Source:
ArticlesBase.com
–
Chance for unknown artists

Author:
Tony Jacowski

Ordinarily, most people do not perceive being an artist as a realistic career choice. The common impression is that it is merely an elitist pursuit, with no guarantee of monetary returns. However, this preconceived notion may not be applicable to every career option that involves art. For instance, having a career in art is not restricted to just painting. There are various other lucrative career options in the field of art, upon graduation from art school. These schools can provide formal training in art, which equip students with tools that can be used in commercial settings. You can be one of the lucky ones to be able to pay your bills through your art!

Career Options After Art School

MultiMedia Artist And Animator: If you are interested in creating animated images for commercials in various media, like television, print media, cinema or computer games, you can become a multimedia artist. Multi media artists create the large series of pictures, which become the animated images on television, computer games or movies. In 2002, there were almost 75,000 animators and multimedia artists in the United States of America, and this number is expected to expand further in the future. You can become a multimedia artist if you possess a bachelor or masters degree in fine arts, although it is not always necessary.

Craft Artist: A career as a craft artist can be ideal if you have a passion for creating useful artifacts like stained glass, pottery, hand woven rugs, sculpture or woodcarvings. These crafts are very popular in markets all around the world, thus making a profession as a craft artist a lucrative career option. You never know when your craftwork could become the next sought after collectible! Studio art classes at your local art school can be of great help in mastering the required skills. You can also join an art club to enhance your craft. Generally, craft artists work on a freelance commission basis. You can also find work in studios and galleries that usually require creative craft artists. According to the U.S. Bureau of Labor Statistics, the average earnings of craft artists in 2005 was $27,360.

Fine Art Artist: Fine art is another career option that you can pursue after art school. Painters, illustrators and sculptors come under this category. The competition in this field is fierce, as there are a lot of aspiring artists. As a fine art artist, you can display your art in museums, and your creations can be sold in auctions.

Art Director: As an art director, you can produce creative visual concepts meant for magazines, newspapers, videos, websites or billboards. An art director needs to coordinate with graphic designers as well as photographers, and make decisions related to the presentation of visual concepts. Having management skills is an added advantage for being an art director. A starting income of $73,790 was estimated for art directors according to the U.S. Bureau of Labor Statistics. Advertising agencies also generally require the skills of an art director.

Besides these career options, you can also try your hand at teaching art, landscape decor, interior and clothing designing, or photography.

Requirements For A Career In Arts And Crafts

If you want to pursue a career in art, passion and interest in this field are prerequisites. However, you will need patience, as earning from your craft may take awhile. Dedication and determination often results in fame and success. For example, artists like Van Gogh and Picasso have become household names. People with a bent of mind and passion for art usually find their art careers satisfying and enjoyable.

About the Author:

Tony Jacowski is a quality analyst for The MBA Journal. Aveta Solution’s Six Sigma Online offers online
six sigma training
and certification classes for lean six sigma, black belts, green belts, and yellow belts.

Article Source:
ArticlesBase.com
–
Careers After Art School

Author:
Donald Mitchell

An artist’s perspective is a key that unlocks the door into a new world of understanding for viewers. Yet where does such a novel perspective come from?

While natural objects often inform artists, few powerful artistic perspectives emerge solely from viewing nature. In fact, until the 19th century most serious artists viewed painting or sculpturing from nature with skepticism.

Spending time with artists has helped many to formulate new perspectives. For the wealthy, it has always been possible to buy lessons from the leading artists of the day who didn’t earn enough from making art to support themselves. Some art students traveled to Europe to gain that exposure. Without the need to earn a living, wealthy artists could indulge in whatever creative work inspired them until something useful developed.

For the not-so-wealthy, schools often provided the basics through studying art produced by others and developing fundamental skills like drawing live models. From the Renaissance on, male artists often supported themselves by serving as assistants to established male artists. In the 19th century, women began painting in large numbers, and many earned a living by copying masterpieces in museums like the Louvre in Paris.

Those pathways worked well for those who were wealthy or knew they wanted to be artists at a young age. What could the others do?

Choices were limited. You had to earn a living and carve out a little time to do what young artists had already accomplished by the time they were 22 or so. Without a background in art, you couldn’t hope to earn a living teaching it.

This was a classic Catch-22 problem (when you need what you don’t have to get what you need) for aspiring adult artists with limited backgrounds until online education expanded the art world. With a computer you could travel the world from your bedroom, see the great masterpieces reproduced, and hear the works discussed by countless art historians. College art lectures had long featured showing lots of slides in dark rooms while an art historian commented. The view on a computer screen was often better than from the back of a crowded, overheated classroom. You can also “visit” major art historians online without attending their lectures in person providing much flexibility for those with limited time for travel and study.

What does the future hold for artists who want to further inform their perspectives? Online education provides an unparalleled additional opportunity.

Let’s consider the case of Ms. Raeda Ashour to appreciate how large the changes are. Ms. Ashour is a native of Saudi Arabia. While growing up, she didn’t yet feel a calling towards creating art. Instead, she felt attracted to literature and the chance to learn English during her studies in Egypt. As a college student at the American University in Cairo, she deepened her understanding of Middle East culture through reading Arabic literature.

In the process of her Middle East studies, she gained some exposure to Arabic art. She discovered that she loved to paint and took up this activity as a hobby. She also visited galleries and began reading about art.

After graduating from college, she could not obtain a work permit in Egypt and had to bide her time until she gained exposure to book publishing through some friends. Eventually, she founded a publishing company with two partners and especially enjoyed designing book covers. Her artistic hobby also expanded to making collages that friends admired.

After seven years, the publishing business started losing money and was closed. Ms. Ashour was unsure what career to follow next.

Soon thereafter, she married a Lebanese photographer who encouraged her to spend more time working on her art. Ms. Ashour held a solo exhibition in Cairo that was well received.

When the couple moved to Saudi Arabia, she continued to focus on her art and soon built a following as one of Saudi Arabia’s leading artists. In the next twelve years, she added a base of collectors through six solo shows and twenty group exhibitions.

In 2005, Ms. Ashour found that she wanted to expand her artistic vision and improve her perspective. By adding a solid art education, she hoped to gain new insights she could apply to her work. She also realized that a master’s degree could also help her gain either a university teaching job or consulting assignments with companies. The wildly fluctuating income of a freelance artist can be stabilized through such activities. In addition, she wanted to write about the potential for art to play a larger and more helpful role in Saudi society.

How might she gain those educational perspectives while living and painting in Saudi Arabia? The possibilities of an online education to serve her needs soon attracted her keen eye.

After considering many online degree programs in art, she selected Rushmore University as her school. Why?

Here were some of her reasons:

1. The possibility of designing a custom major.

2. She could start classes immediately.

3. She could earn credits for her previous life experience.

4. She could study as much as she wanted and accelerate her graduation date.

5. Since many of the university’s students had published their work, it gave her confidence that her master’s degree writing might also be published one day.

6. There were no exams.

7. The tuition fees were affordable for an artist.

After she graduated in 2007 with an M.A. in Arts Education, I asked Ms. Ashour to share some thoughts with me about her distance learning experiences. Overall, she described this way of learning as a very rewarding step in expanding her artistic vision. She felt that she accomplished several things including:

1. Enhancing her knowledge about art and art education to help improve her career as an artist.

2. Regaining her research and writing skills.

3. Improving her credibility in the artistic community.

In addition, she gained confidence about publishing her papers and seeking teaching jobs at the university level. She intends to continue her education through either specialized studies or possibly earning a doctorate.

How is her art career doing? A recent e-mail shared the good news that she is busy preparing work for two important solo shows in 2008.

What career boosts are you seeking?

How are you going to improve your vision and perspective to enhance your career?

What role can distance learning through the Internet play?

About the Author:

Donald W. Mitchell is a professor at Rushmore University. For more information about
ways to engage in fruitful lifelong learning at Rushmore
to increase your influence, visit
http://www.rushmore.edu
.

Article Source:
ArticlesBase.com
–
Building a Foundation for an Enhanced Artistic Vision from a Distance

Author:
Dr. Frank Bonkowski

Recent research on aging shows a clear link between developing creativity and having a joyful, enriching midlife and beyond. For third agers to be more effective, productive and fulfilled in their lives, they need to break the barriers to creativity. Here are five new ways of thinking, speaking and acting that I have discovered in working with Dr. Sylvie Labelle (
http://syllab.ca/en)
and Dr. Fred Horowitz (
http://fredhorowitz.com/),
executive coaches.

1. Don’t allow the people around you, the environment and self-defeating beliefs to sabotage your capacity to be creative.


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– I wasn’t born creative; I can’t learn to be creative now at my age.

– Creativity requires lots of talent; I’m not talented enough.

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– I’m not clever enough to be creative.

– Creativity is really stupid; I depend on logic and reason to solve problems.

– Only certain people need to creative, such as writers, artists or musicians.

In many cases the environment in which you live or work blocks your creative thinking. How often are you faced with the negative judgments and critical comments of your family, friends and peers? As a result of these constraints, creativity becomes an underutilized capacity. Most of your thinking becomes robotic and operates in monologue, which gives more of the same kind of thinking.

2. Believe in your ability to be creative.


Research shows that creativity doesn’t belong only to so-called creative types. Most normally intelligent people are capable of doing some degree of creative work. Through perception and understanding creativity can be deliberate. Creativity comes from many different elements: experience (which certainly you have a lot of), knowledge (that too you’ve accumulated over the years), technical skills, talent, and persistence in achieving goals. Creativity is a quality that can be learned, trained and practiced if you put your mind to it.

3. Live a created life.


According to Dr. Fred Horowitz, we can profit by thinking about creativity in four ways:

(1)
Live a creat
ed life
by speaking something new into existence (“I’m changing careers”, for example) not based on the past, yet honoring it. A created life is distinguished from a “reactive” life, in which we’re at the effect of our circumstances, emotions, moods and thoughts.

-2
Generate possibilities, breakthroughs, a new future
by saying something new that wouldn’t occur if we didn’t say it. This is distinct from predictions, which are past-based and give more of the same in the future.

-3
Generate ideas
by engaging in conversation with people who don’t share our points of view. It’s a collaborative conversation, in which something new opens up through the process of dialogue.

-4
Become fulfilled on what’s brought into existence
by taking actions based on what we’re committed to accomplishing. The actions need to “call us” – need to resonate with us, connect us with something beyond our identities.

4. Try new ways of thinking and acting.


Dr. Sylvie Labelle suggests new ways of thinking and acting differently without necessarily changing who you are. Here are some simple steps she recommends for breaking free of constraints:

– Do the opposite of what you are used to.

#NAME?

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– Talk to others, both experts and non-experts in the area- Turn the problem upside down by asking what the problem is not or what’s missing.

#NAME?

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#NAME?

– Use a graphic organizer to chart what works and what doesn’t.

5. Have fun and laugh more often.


Doug Hall, an eccentric and creative thinker, noted that fun is fundamental to creativity. In fact, he has come up with his own
Law of Creativity Physics
: without fun there is no enthusiasm or energy. He claims you can increase your brain power three to five times by laughing and having fun before tackling a problem.

Robb Correl offers these simple ideas for becoming a funnier person:

– You’re funnier than you think, so be yourself.

#NAME?

#NAME?

#NAME?

#NAME?

#NAME?

#NAME?

– Laugh “with” people and not “at” them.

About the Author:

Dr. Frank Bonkowski is an author, teacher and educational consultant. He is co-founder of
http://www.happiness-after-midlife.com
in collaboration with Dr. Fred Horowitz. The site is devoted to adult transition and reinvention.

Article Source:
ArticlesBase.com
–
Breaking Barriers to Creativity: Five Strategies for Third Agers

Author:
Valery Satterwhite

Copyright (c) 2009 Valery Satterwhite

Where you are in your creative expression mirrors where you are in your life flow. If you are blocked creatively it is an indication that there is a disruption in your energy flow. Something isn’t working. And the harder you try to push on forward the more blocked you become. You become exhausted, literally drained, depleted, unmotivated. The couch beckons, the television calls, every distraction imaginable is suddenly luring you away from your work. Doing anything else feels better than fighting the block.

Why is that?

Life, and art, is about flow. Effortless flow. Passionate flow. Creative flow. If you’re struggling in any area of your art or your life you are swimming against the stream of life instead of with it. You’re emotions, thoughts and actions are out of alignment with who you are. Therefore, you are frustrated in your lack of ability to fully express yourself in your art, your relationships, your business matters. You are the block. You are getting in the way of your creative expression. Essentially you are in a state of self-sabotage when you are blocked, when you swim upstream.

There’s a difference between being blocked and a pause. A pause is for the purpose of reflecting, getting a different perspective, replenishing yourself is purposeful. You feel good when you pause momentarily because you know that this action will result in the forward progression of your achievement. The pause is a part of your natural flow.

A block, on the other hand, doesn’t feel good. And it may be permanent if you don’t deliberately turn yourself around to flow with the stream. Now, no one does anything without getting something out of it. What are you getting out of being blocked? Here’s a hint: Have your Found Excuses And Reasons (F.E.A.R.) to do other things instead of your work? Yes, when you are making excuses you are in fear. You may be focused upon your misguided belief system that you’re not good, talented, creative, smart, skilled, worthy, ad nauseam, enough to successfully complete the project, task, goal at hand. You may fear failure. You may find yourself blaming others for your inability to create or succeed. This is a victim mentality that is a huge block to creative expression.

What does staying blocked allow you to do? It allows you to stay right where you are in your current comfort zone. You may not like you’re current comfort zone but it’s what you know, so it’s comfortable, and safe. You may not like thinking that you’re not whatever enough or thinking that others control your success but it’s what you’ve always thought. To change is frightening. Who would you be without those thoughts, those blocks?

As I mentioned earlier, if you are blocked, you are out of alignment with who you are. If you are out of alignment with who you are you are blocked, struggling, swimming upstream. “Well, then” you might be saying, “If I am out of alignment with who I am, who am I?” And that, is the question you must ask yourself.

To find the answer to that question you must ask yourself the following question:

“If there were no expectations; money was not an issue; my current abilities (or lack thereof) were not an issue, and I knew I could not fail: Who would I be, what would I do and what would I have?”

Spend some time with this question. I suggest writing down your answers in a journal. There is something about putting your truth onto paper that gives it power; brings it into reality. Take your time. Breathe. Dig deep. Pull out your truth from your core.

And when you are finished read your answer to yourself and visualize yourself as already being, doing and having that. This is who you are! What you desire most is a reflection of who you are. Hold this vision. Write an “I am” statement around it. Keep this statement nearby where you can refer to it in the moments you are blocked. If a thought, emotion or action is out of alignment with that statement, turn the thought, emotion or action around. How else could this be perceived? What could I do differently? Go with the flow instead of against it.

“The creative act is not hanging on, but yielding to a new creative movement. Awe is what moves us forward.” – Joseph Campbell

Valery is an Artist Mentor who specializes in empowering creative peoplecreate more profoundly, more prolifically, and more profitably. She teaches people in the visual and performing arts how to tap into and trust their intuition, acknowledge their truth, and disarm their fear and self-doubt with her proven unique whimsical “Inner Wizard” methodology. Visit

http://www.InnerWizard.com

. Get Free “Artist Resource/Marketing Directory” today!

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–
Blocked Creatively? You Might Just Be Swimming Upstream

Author:
Valery Satterwhite

Copyright (c) 2009 Valery Satterwhite

The most damaging restrictions on a creative person’s freedom are self-imposed. What may have started out as a new idea, a new methodology, becomes routine, a habit, after awhile. Habits are the comfort zone. Once snuggled into a comfort zone there is a tendency to stay. However, this is not what a creator is here to do. Staying in a comfort zone habitually creating the same kind of thing over and over again does not feed the artist’s soul. Comfort zones are safe. Comfort zones bore creative people literally to tears. Stagnation goes flies in the face of an artist’s passionate desire to expand and express their full creative potential.

Habits are not limited to craft. The greatest crippler of the creative spirit is habitual thinking. Habitual thinking turns the innovator into the academician; passion into melancholy; fulfillment into despair.

“A ship in the harbor is safe. But that’s not what ships are built for.” – Anon

It is said that an artist of any kind brings a lot of himself into the work. The artist isn’t as interested in the subject of his creation as in his own reaction to that subject. When you change your habitual thought patterns you also change your habitual reactions. You literally have new eyes with which to see and observe the experiences in your life and your world. Newer expanded vision births newer expanded creation.

“Most new discoveries are suddenly-seen things that were always there.” -Susanne K. Langer

When an artist is stuck, dug-in, in the mire of rigid or habitual ways of creating he literally puts a cap on the availability of his own intuition, his inner muse. Those magical “in the zone” moments of full creative energy and accomplishment are fleeting because very little inspiration is allowed. Inspiration is limited to what fits into a self-limiting set of possibilities. The artist has unknowingly handcuffed his soul.

If an artist isn’t personally evolving; stretching, growing, moving beyond comfort zones, then her art isn’t evolving. Stagnation suffocates the potential creative expression that is the artist’s birthright. Treading water in life, not moving in any direction, is exhausting! Swimming against the stream, holding back your full creative potential, is exhausting. Let go of tired old ways of being, thinking and doing. Rediscover the playful child in you. Approach your art with the wide-eyed wonder and awe of a child at an amusement park where everything is new, exciting, waiting to be experienced. Fear and judgment is left behind. Play is what turns the utilitarian into the discoverer of new interpretation, new invention. Play is the vital heartbeat of the creative spirit.

If you think you might be treading water in life or your artistic endeavors, give yourself permission to play. Play with your craft, indulge your passions, do a silly dance. Shake up your stagnated energy. Fully alive and present, be open and available for whatever comes next. That glorious state of being is the ultimate freedom.

Valery is an Artist Mentor who specializes in empowering people to create more passionately, profoundly, productively and profitably. Learn how to trust your intuition, acknowledge your truth, and disarm your fear and self-doubt. Valery developed a proven unique “Inner Wizard” methodology to empower the Wizard Within to actualize and express your full creative potential.

http://www.InnerWizard.com

. Get Free “Inner Wizard Empowerment tips” too!

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–
Blocked Creatively? Here’s A Get Out of Jail Free Card

Author:
Greg Katz

We’re caught in a world where time is money and extremely precious. It’s difficult enough to figure out how to create art, run a business, and have a life but there’s one more step we need to consider that will make running a business much easier. When we stand in service to others we create an exchange with the community and those we serve. This is not a call to go out and volunteer for every nonprofit that knocks on your door. I believe that when we are of service to our own community first we are given a huge advantage in the business arena. Remember charity begins at home.

One of the communities most artists belong to is an artist guild. If you go, how many times do elections come around and the board is scrambling to get someone, anyone who will give a year to serve. I can tell you from personal experience that serving on your professional organization’s board is the best investment you can make in your business. It sets you aside from others in many ways and allows you to provide your vision for the organization and the art world.

When we make a commitment to serve we are making a statement to the world that we are firmly planted in our art business. We set an intention to succeed and lead with that example. As part of the leadership team you can keep your finger on the pulse of the community and realize skills you may never have recognized in yourself previous to that moment in time. You’ll be included in marketing decisions, exhibition plans, education opportunities; all of these are things you can take and apply toward your own business.

Upon entering the coaching world I never had any intention of serving in a leadership position. Things change quickly and within six months I was part of the leadership team. That move led me to run for the board as Secretary and then I was asked to run for President of the organization. When you are given the opportunity to lead it’s not just about guiding the organization, but creating an atmosphere of camaraderie and inclusion. You become known for more than just your artistic talents; you become multi-dimensional. The key is the more people you know and know you, the easier it becomes to run your business. Remember, word-of-mouth is still one of the strongest selling points we can hope for in the art community.

Take the opportunity to learn more about yourself and if you want create a work of art based on your leadership experience. Serving will provide you with insights into human nature you can’t gather in any other manner. You get to make the leadership experience what you want it to be. It can either be an asset or a liability, that’s your choice. Since we’re in the business of building an artrepreneurial empire I’m guessing that you’ll find the way that suits your personality and your style to help move your business and the art community you belong to forward in its mission.

About the Author:

Want to be a successful artist? Get the
FREE
7-part series “Beating the Odds for Artist Success”. Along with the series you’ll get the “Beating the Odds” audio-visual program as our special gift. Both the series and audio-visual program are available at

http://www.artistsuccessstudio.com

.

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–
Be of Service and You’ll Achieve Artist Success!

Author:
Heather Ash Amara

The catalyst for internal alchemy is what I call “creative intent.” This is your ability to find new ways of moving past obstacles while staying focused on your final goal.

Support Your Internal Creativity

Creativity is the feminine polarity of life, a sense of playful experimentation. Creative energy is the flow of art, and moves as a spontaneous response to stimuli. Creativity stems from dreaming and intuition, and a wide horizon of perception.

Creativity is the juiciness and flow of life. It is often unexpected, unexplainable, and unpredictable. Creativity is our unique expression of life, which we manifest for the pure joy of it. When we are in the river of creative flow, we seek neither reward nor recognition; rather, we tap into the unknown, and mystery moves through us into form.

Creativity cannot be forced or scheduled, but it can be enticed and allowed. As we make ourselves vessels and clear out our doubts, “shoulds,” and rules, creativity often comes to fill and overflow us. We see new possibilities, new actions, and new ways of being. We are inspired to take the images, sensations, and taste of our inner world and make them tangible. This creative expression is not only what artists strive for; it is a vital force helping us move through our own internal obstacles and fears.

Our places of limitation often stem from the creative ways we tried to stay “safe” when we were children. For example, most of us grew up with a sense of scarcity in our lives: not enough love, resources, self-confidence, etc. In order to compensate, we create fantastic agreements or strategies, e.g., “I have to be in a relationship or I am not whole.” “If I have a lot of money in the bank, I am safe.” “If I make sure everyone likes me, I know I am a good person.” (These are examples of wacky internal creativity.)

As we become more aware and strive to change these agreements, obstacles arise. Our old structure, which we created to order an unpredictable world, fights to stay alive. Our habitual response is to follow the old pattern, e.g., “That relationship just ended, so I must quickly find another one, or feel lonely and fragmented until I do.” “I am feeling insecure, so I am going to go buy something expensive” (and later go into fear that I don’t have enough money.) “My friend is disappointed in me, so I must have done something wrong.”

When we are willing to risk being creative, there are a million different ways we can respond to stimuli. It is exciting, for we pull our heads out of our tiny box of responses and look towards infinity for our answers. We approach obstacles and fears with a sense of adventure: “What will I do today?” “Who will I be today?” “What will I learn about myself today?”

For example:

Your relationship ends, and you consciously choose to be creative, so you

o (and your former partner) have a divorce celebration with close friends to support you, where you cut the cords on this and all of your previous relationships;

o spend a week in retreat, nourishing yourself with good food and long hikes;

o take your new alone time to do something you have always dreamed of;

o get on the internet and create a personal ad, and then go on dates with fifteen people in four weeks with the agreement that you will not get into a relationship, but simply explore what you like or who how you act around others;

o shave your head and dedicate yourself to meditation for a year;

o volunteer to help a child in need;

o find a good therapist or spiritual guide.

In other words, you are creative, and you do anything that breaks the habit of your usual pattern. To cultivate your own creativity, try these activities for a week:

o Select a problem in your life and list at least ten different ways to work with it. Let some of your ideas be outrageous. Stretch your mind. If you cannot think of a problem, take the examples above (money in the bank or disappointing a friend) and list ten creative things someone could do. Then do at least one of these creative ideas this week.

o Pay attention to the ways your mind goes into habit. Constantly ask yourself: “How can I be creative in this situation?”

o Do at least one physical activity that opens up your creativity: paint a dream, visit a museum and wander through the hallways feeling the art, dance wildly under the moonlight, build a fire and speak to the flames, sing out loud in public.

Tapping into your creativity may feel awkward at first. Remember you are breaking your own box, which can feel frightening, liberating, or both. Enjoy and keep breathing through whatever arises. Pay attention to where you want to limit yourself, or where you are uncomfortable stepping out of your own comfort zone. Keep dancing towards the infinite.

Hone Your Intent

To stop undermining yourself and truly unfurl your wings means attending not only to the beginning, but also the perhaps uncomfortable middle all the way through the alchemical process of internal transformation. Intent is the masculine polarity of life, the movement of focused purpose. It is the determined questing of science, and it moves as a piercing force of transformation. Intent stems from disciplined stalking of the goal and strong action to stay on course.

Intent is the clarity in life that keeps us focused on a specific purpose. Intent acts as the guiding force for our actions in the world. It gives us direction and the will to carry on, despite the obstacles that arise. Intent is a combination of determination and dedication. Intent is a science, a practice of getting from point A to point B systematically without getting distracted or straying from the course. Intent allows us to see beyond chaos, fear, and temptation. All of our senses align with our goal. All of our energy aligns with our senses. We are a pure point of perception, undaunted by the impossible. We know what we want and are not afraid to go for it.

One problem, however, is that our intent often flows from an unconscious place. When we act from unconscious intent, our integrity and truth are compromised. Our actions are colored by our experiences of the past. Old agreements and fears dictate how we react to life happening around us. Our intent then stays at its default setting, which is usually the setting we agreed to when we were very young.

We would never consciously say: “My intent is to sabotage myself and prove that I am not deserving,” or “My intent is to never put my full heart and energy into any project, so I do not have to worry about failing,” or “My intent is to blame everyone else around me for my inability to take responsibility for my life decisions.” But we hold these types of unsupportive intents and live our lives from them.

There is a great little book that expresses perfectly the sort of intents we carry within us. “Today I Will Nourish My Inner Martyr” is a book of “Affirmations for Cynics,” or really, for the unconscious. Some favorite samples are:

o “Today, instead of dealing with situations that upset me, I will create melodramatic diversions.”

o “I have a right to be a victim after all that I have been through.”

o “Because I demand that everything in my life is the best and beautiful, I will disown my body today.”

o “Today I will remind myself that my friends and family are just waiting for me to fail.”

o “Today I will cultivate a relationship with an especially needy person so I can fulfill my need to be needed.”

The first step in honing your intent is to clear out the garbage intents that clog your system. They are heavy energies that weigh down the lightness of pure, conscious intent. Play with making up intents for yourself based on your unconscious beliefs. Keep this practice as play, for it will expose more of your unconscious heaviness. Notice where you are sabotaging yourself or acting in ways that go against your heart. Then make a joke of it:

o “Today, I will wake up depressed and then punish myself all day for it.”

o “Today, I will make a mistake and repeat it in my head over and over again.”

o “Today, I will say I want to write, but I will spend the day cleaning up someone else’s mess.”

Get these thoughts out in front of you so you can see them. Once you are aware, you have the power to make a choice and ask, “Is that really the intent I want to hold for my day/week/life?”

Once you have played with and felt you unconscious intents, rewrite what intent you actually want to be living from. What different action can you take? How can you bring the creative aspect in to this new intent? Write these intents when you are not in the pattern, i.e. before you get depressed, confused, anxious, etc. Action is best planned from a neutral or joyous space. Make three action steps you will take that oppose the old intent, or nourish your new one (preferably one of each).

For example:

o “Today if I wake up depressed, I will not believe the lies my mind tells me. Instead I will (a) call two people and ask them to tell me what they appreciate about me, (b) will email two people and share what I appreciate about them, and/or (c) go out and take a dance class.”

o “Today I will write despite distraction or drama. If I get distracted or caught in drama, I will (a) take a deep breath and acknowledge my distraction; (b) get my butt back to the writing chair with minimal judgment, (c) drink a cup of tea while I read what I wrote before I was distracted, and continue onward, and/or (d) spend a few moments looking at what I felt like before I was distracted, and what uncomfortable feeling or thought arose that I can teach myself to sit through.

Write out your new intent, and new actions someplace you will have them handy when the situation next arises. Do your actions when you get off track; don’t rethink them. Notice the results, and enjoy.

About the Author:

Heather Ash Amara weaves powerful practices of shamanic traditions to help people reach their potential. She apprenticed and taught extensively with Miguel Ruiz, author of The Four Agreements. She wrote Four Elements of Change and founded the Toltec Center for Creative Intent. She runs
Spiritual Integrity Coaching
with Raven Smith. Read more
creative actions
from Heather Ash.

Article Source:
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–
Awaken Your Creative Intent

By
Arnold White

Artists are a special breed. They march to a different drummer. Artists have been given a special gift, and that gift can be very rewarding as well as very frustrating. The rewards are self-evident. The frustration comes from how to make money from your creative efforts. The purpose of this article is to provide you with some tools to solve this problem.

It is important for the artists to understand that they are the most important part of the “Art Market”. Without the artist there is no art market…no art galleries, no art shows, no art books, no art magazines, no art workshops, no art supply houses, no art agents. In fact, no businesses of any kind relating to the art world exist if not for the artist.

Making money will never be your primary motivation, but it must run a close second if you want to make a living from your talents.

How should you represent your work in order to make a professional presentation of your artwork? As a professional artist it is extremely important to put your best foot forward when submitting your art for review. The following six components are the foundation for making money with your artwork.

1.

So, let’s start with how you communicate visually; and let’s also remember that as an artist you are in business, and every business should have a professional image. Here is what you will need in the category of “Professional Stationary”: your letterhead; your business card; and your mailing envelope.

Your letterhead should be simple and creative. It should have your telephone number, address, e-mail address and web address. Your business card should have all of the information that is on your letterhead. Finally, your mailing envelope should have your logo and return address.

2.

You will also need some “Professional Quality Slides and Photographs”. What does professional quality really mean? As an artist you are creating a visual product, a product that needs to be seen before it can sell. Slides and photographs are your product inventory. If you are capable of taking a high quality photograph of your work, that is fine; but unless your photography truly captures your work, get a professional to do this for you. It is important when photographing your art that you never photograph your art framed. Framing is fine when your work is sold and hanging, but those reviewing your work are distracted by the framing process.

When submitting your art for review or consideration, your slides should have at the minimum your name and telephone number. However if you really want to be professional, your slides should also have the title, the medium and the size. The lab that does the developing can do this for you. If submitting photographs instead of slides, be sure that all of the above appears on the back of every photograph.

Every dollar you spend to make your art appear professional is more than worth the cost. Photography is a business expense and tax deductible.

3.

What about a “Professional Website” you ask? Absolutely! Four or five years ago, most artists were not aware of any of the following terms: URL, dot.com, Internet, Hosting, On-line, Search Engines, etc. Only now are they beginning to see the value of an online presence as an incredible new opportunity for exposure.

If you don’t already have a web site, you should remedy that as soon as possible. The fact is the Internet offers contemporary artists a unique opportunity to showcase and sell their art.
4. Professional Brochure

A first class brochure can be the most effective way to visually present what you do and how well you do it. A professional brochure can create a better impression than an entire book with cheap reproductions. Your brochure should contain a representative sampling of the scope of your work and should also include your biography.

A photograph should also appear on your biography page. Although this is not essential, an interesting picture of the artist can influence the reader’s interest in the artist’s work. Be sure your brochure is produced using the four-color process and is printed on 80-100lb gloss stock.

5. Professional Biography

Your biography is basically an artist statement. It is comprised of why you do what you do, who has influenced your work and anything that has been written about you. Your biography should incorporate a photograph of yourself.

6.

Finally, who should you submit your art to for review? The most readily available sources are: galleries; juried events; competitions; print publishers; agents and representatives; art fairs; and art festivals.

Take these simple steps one at a time to help get going on the road toward making money from your artistic talents. Remember to put your best foot forward and to represent yourself and work as if you were in a business because, indeed, you are.

Arnold White has been a publisher and distributor of fine art prints for over 20 years. He is the President of Winner’s Circle Gallery, a firm that represents artists seeking to enter the print market. Mr. White serves as a consultant and reviews work from artists wanting to enter this market. You may contact Mr. White at Winner’s Circle Dept. AB, P.O. Box 4814, Palm Springs, CA 92263 or call (800) 748-6400. More on selling your artwork at:
http://www.framehousegallery.com/WinnersCircleGallery/index.html
Comments or questions can be sent directly to Arnold White
swhite@DC.RR.com

Copyright usage: No permission is needed to reproduce an unedited copy of this article as long the About The Author tag is left in tact and hot links included. Comments or questions can be sent directly to Arnold White
swhite@DC.RR.com

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http://EzineArticles.com/?Attention-Artists:-You-Can-Make-Money-with-Your-Art-with-Six-Sure-Fire-Ways&id=304938

By
Alyson Stanfield

An artist statement is a necessary component of any professional artists’ portfolio or promotional packet.

When writing your artist statement, DO:

*
Write in the first person.
It is a statement, after all.

*
Be brief,
2-3 paragraphs at most. Always err on the side of brevity. You can write more, but why would you want to? People have short attention spans these days. Load as much punch into the delivery as you can. Combine sentences and delete ones that aren’t vital. As Henri Matisse said in his treatise on painting, “All that is not useful to the picture is detrimental.” The same could be said of your statement.

*
Describe the current direction of your work
and your approach, particularly what is unique about your methods and materials.

*
Sit on it for a few days and come back to it with a fresh mindset.
Most artists, in my opinion, hate their statements because they rushed them in preparation for an exhibit and didn’t care to spend any more time on them. How do you expect it to be any good if you don’t work at it?

*
Consider more than one statement if you are trying to discuss more than one body of work.
If you try to get too much into a single statement, you run the risk of saying nothing and trying to be everything to all people. This is bad marketing/bad promotions.

*
Allow your artist statement to grow, change, and mature along with your work.
Don’t let it sit on a shelf and collect dust. It should be organic and you shouldn’t be afraid to change it and make it better.

*
Make sure your statement passes the litmus test. Above all, viewers should be compelled to put the statement away and look back at the work.
Your statement isn’t successful if people read the words on the page, and then put them down and go on to the next artist.

When writing your artist statement, DO NOT:

*
Use too many personal pronouns.
Yes, I said to write in first person, but try to severely limit the number of “I”s, “me”s and “my”s that are used. You’ll be amazed at how many other ways there are to phrase things. You want people to relate to your words and to your art. Too many personal pronouns will put up an unnecessary a barrier.

*
Tell your life story.
You can keep that for your bio (as long as it’s interesting). Your artist statement is only about the current direction of your work.

*
Quote or refer to anyone else by name.
Keep the focus on you and your art. Mentioning another name shifts the readers’ attention from your art to the other person.

*
Forget to use spell check and ask someone else to read it over for you.

View the time to write your artist statement as an opportunity to clarify your thoughts.
A well-written statement, approached deliberately and thoughtfully, can be a boon to your self-promotion efforts. You’ll use the language on your Web site and in grant applications, press releases, brochures, and much more.

Copyright 2008 Alyson Stanfield, All rights reserved.

Alyson B. Stanfield is an art-marketing consultant, artist advocate, and author of
I’d Rather Be in the Studio! The Artist’s No-Excuse Guide to Self-Promotion.
Sign up for her free Art Marketing Action newsletter at

By 
Suzanne
Lieurance

Source:
http://www.pacificarticles.com/articles/102/1/The-Artists-Statement-A-Marketing-Tool-Every-Artist-Needs/The-Artists-Statement-A-Marketing-Tool-Every-Artist-Needs.html

Author:
Les Anderson

From time to time, most artists have experienced a creative block. Is there a key to overcoming this block to restore our creativity? Let’s look creatively at what artists experience, what it feels like when a block occurs, and how to overcome the artists block.

When it strikes, we never see it coming. The feeling is something like this: You’re strolling through a serene forest, the cool breeze caressing your hair and whispering from the treetops above you. The filtered sunlight is fluttering like a nature-made strobe, lulling you to sleep.

You see the ocean in the distance and can almost feel the salt spray on your cheeks as you make your way down the needle-laden path toward the shore. Spying a beautiful cluster of magenta colored flora, you stop. As you bend down to caress one of many blossoms, you close your eyes to allow the scent to permeate your mind, unmolested by sight and sound. The sensation is near heavenly.

As you stand and open your eyes, you find that a heavy fog has suddenly and cruelly replaced the forest, and you’re surrounded by darkness. You turn back to the path but the path is gone. You turn toward what you thought was the ocean and you see only fog. Behind you, fog. Beside you, only fog. You reach out your hands in a vain attempt to feel something, anything familiar.

As the anxiety mounts, you feel the familiar pricks of pine needles on your face and hands. Now however, they seem foreign and angry, no longer the beautiful sunlight filter they once were. You can see nothing, so you stumble around in the fog until you are so frustrated that you stop and collapse onto the forest path, your cheek pressed against forest floor, the scent of the magenta flower replaced by the smell of dirt.

Unfortunately, artists block can occur without notice. One moment we’re in the groove. The next thing we know we’re on the forest floor. It’s from the floor of the forest, blinded by the fog that we make our choice to either continue to lay there in defeat, or get up and find the way out.

Ok, first step is to take a break. Make it a short break, not a long one. Get up, stretch, go for a walk. Get a cup of coffee or tea. Get a beer if you’re so inclined. Go outside if you’re inside. Go for a swim or take a nap. Go for a drive or a bike ride.

The idea is to get away from the canvas and get away from the block. This is equivalent to sitting on the forest floor, or standing on the path, stretching and waiting for the fog to clear. If the fog takes a while to clear, at least you’re not wallowing in self-doubt and pity. You’re facing the fog and not allowing it to get the better of you.

What should you do after your break? Get up and move. I’ve found that when my mind seems blocked from the creativeness and talent that I know I possess, there truly is a next step. However the question is, what is the next step?

The answer is, move. Now that you have had your rest break on the forest floor, move.

Naturally, the next question is, which direction do you go when you’re in a fog? There are choices.

Move back. Go back down the familiar path that was so beautiful just moments before. Get back to the basics of primary colors, pencil drawing and stick figures. Soon you’ll rediscover yourself and your roots. Make it simple like it once was. Relax and move back.

Move to the side. Venture off into the foggy forest to discover new and exciting things that you would never have seen had you stayed on the path. Try something you’ve never tried before. If you’re into oils, break out the watercolors. If you do pastels, try sculpting. If airbrush is your thing, do some finger-painting. Move to the side.

Move forward. Continue through the fog toward that beautiful seascape that you know is there. Forget what just happened. Don’t dwell on what turned out bad. Don’t speculate on what caused the block. Know that you’re creative. Know that you’re talented. Put the block behind you and try something that was more difficult than the project before. Many times for me this has brought me to places I didn’t know I could reach. Move forward.

When you encounter artists block, the point is to move. Don’t let the block get you down.

Move. Move. Move. Remember the only real reason you got artists block in the first place: You’re talented. You’re creative.

You’re an artist!

About the Author:

Telecommunications Engineer, freelance artist and writer, Les Anderson has been published in business-related, telecommunications technical trade journals.

Formal education aside, his best artistic education comes from personal studies under Hollywood portraitist, Alexander Rosenfeld, and Southern California watercolorist, Margaret Hunter.

Canvas and Pen
,

motivation and inspiration for writers and artists.

Canvas and Pen Blog
,

a little edgier, with your feedback.

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–
Artists Creative Block – Overcoming the Difficulty

Nuts and Bolts

By
Barbara
Bowen

 "If you aim for a market you’ll miss the mark." Whoever said that, I’m a
believer. It’s no good looking over the shoulder at what strangers prefer
before creating. True inspiration is the optimal motivator. Quality issues
from there, and its purity taps the nerves of audience attraction. That
said, there are far too many masterpieces tucked on shelves behind the light
of day. Strong promotional tools may be secondary to our motivation, but
they’re essential. Like the apex of an iceberg, they show first. They
introduce our work, foster credibility, and mirror how far we’ve traveled
along the arc of our goals. Those we know may direct us to new connections.
But even then, we must support those connections with an effective
"portrait" of who we are. Selling is a part of every career. Never
underestimate the power of presentation. Why not enter the new season
prepared with an updated, incisive, authentic, and powerful one? What do you
need? A dynamic artist statement, artist biography and artist resume is the
beginning. Effective artist portfolios and proposals are also important.
Start now and stay ahead of the pack. So, what are the important elements of
these essential artist presentation tools?

Artist Statement:
Shaping your essential bond with viewers and sales An artist statement
communicates what motivates you as an artist. It’s the most personal part of
your presentation; an opportunity to bring your viewers and potential buyers
closer. It offers a glimpse of the person behind the work. While keeping it
informative, let your personality show. Share your ideas and concerns, and
how they are revealed in your work. Explain to viewers what your work means
to you, not what it’s supposed to mean to them. They will arrive at their
own conclusions. It’s okay to mention influences, but mostly keep prominent
names associated with your career for your resume, where they will serve as
testimonial and avoid the appearance of boasting. Give some details about
your techniques and how they help you achieve your vision. Then, you might
add a segment about how your approach is unique. Most general artist
statements are around one page or less. Brevity sustains attention, so I
lean toward three or four concise paragraphs. In some situations, a
statement about a particular artwork may be requested. A statement can act
as a marketing piece in certain commercial situations, which may be
appropriate. So be sure to tailor your artist statement to its purpose.

Artist Biography:
Creating a memorable snapshot of your career
life An artist bio contains similar information to the artist resume but is
presented in paragraph form, is less formal, and is most often written in
the third person. It serves to highlight the information presented on your
resume. It’s a great way to convey a "snapshot" of your career experience.

Artist Resume:
Detailing your career with clarity and
professionalism Artist resumes detail the accomplishments, endeavors, and
knowledge. They offer a full picture of your career, and the categories
featured on the resume will depend upon your artistic discipline. It’s
important to update your resume on a regular basis, adding and deleting the
listed activities, as appropriate. An artist resume can be one to four pages
in length. Most artists have two versions prepared: a longer and shorter
version. It’s often best to use a professional paper stock, in white or
ivory. The style of type varies, and can add to the resume’s
professionalism.

Artist Proposal:
Standing out from the crowd with dynamic
writing/shaping/editing Artists also use their portfolio to apply for
specific projects, funding programs, residencies, or other competitive
opportunities. These applications may ask you to submit a project
description, details on your approach to the project, and a cover letter.
These written materials should be tightly edited and tailored to the
particular opportunity. Be passionate and sincere in the presentation of
your work, and always conclude with thanking the panel, juror, and/or
organization for their time and consideration. Typical questions for you to
answer will be: Why are you an ideal applicant? How will you benefit the
program or project? What technical qualifications, abilities, or personal
assets can you contribute? How will you benefit from the opportunity? How
would the project advance your career as an artist? How would you use the
money awarded?

Visual Artist Portfolio:
Keeping the heart and soul of your work
evolving Your portfolio is the most valuable tool in your overall
presentation. Your visuals are worth a thousand words, and an arresting
portfolio can help close the gap, should your written materials be less
developed, as in young artist on the career path. There are many approaches
to a portfolio, depending upon the discipline. One universal ingredient to a
successful portfolio is a sense of continuity. The transitions between and
within subject matter must cohere. Color, tone, shape, scale, all must be
considered when choosing what images to include and how to position them.
This process involves subjectivity as well as objectivity. Most artists
benefit greatly from feedback from a trained eye, and reactions from
untrained eyes can also be helpful. A portfolio is most successful when
modified and tailored, with acumen, for its particular audience. Many
artists now supplement their physical portfolio with a digital version
either on the Web or presented on CD-ROM or DVD. Stay current on new formats
and choose the method(s) that feature your work most powerfully and support
your marketing goals.

Author:
Megan Webber

Health concerns are a major issue for all of us, whether it’s fitness, weight control or specific health issues. I am an artist. Since my mid teens I have also suffered from Depression. I however didn’t come to terms with this until my mid 30’s. Initially on consultation with my GP I began a six-month course of antidepressant medication.

What I found with this kind of medication was that as an artist it was not the direction I needed. Yes, it blocked my emotional responses to certain situations, but this was more a dilemma then help. To me as an artist if you can’t feel you can’t express yourself.

So at the end of the day I decided to stop the medication and live with my condition accepting that I would have my up and down days. This can be difficult when dealing with family or your partner. At times is can be difficult to gain understanding about these issues with people you love. Yes you are fatigued much of the time and others unable to get outside and experience life. Many aspects of life become difficult.

When I met my current partner I was introduced to the products of Herbalife. As a trained Kinesiologist she also was able to fast track some core issues that had impacted on my condition.

I’ve been that sort of person who likes to almost stick my head in the sand when it comes to some health issues. Also hold a certain scepticism, which means that I need to consider all aspects of anything before I commit.

First of all I became aware that even in my mid 30’s I was peri menopausal. In fact probably for many years. Something that can also has an impact on emotional levels as well as physical.

I have now started a course of herbal treatments, which unlike traditional medicines deal with a holistic approach. I strongly believe gentler on mind and body, but truly effective on assisting me with my conditions.

I now take Formula 1 Nutritional Shake Mix, which balances my nutrition on a daily basis, Formula 2 that is a vitamin B complex, Formula 3 Vitamin C and Tang Kuei the key ingredient, which stabilise hormonal changes.

The key ingredient of Tang Kuei, which has been taken by men and women for centuries in China, is Angelica polymorph and Chamomile. These ingredients are used after strenuous physical exertion, relief of muscle tension and for relaxation.

This has been a fantastic break through for me with depression and pre menopausal conditions. Tang Kuei is extremely important for a range of health problems not just depression. From Chronic fatigue syndrome, menopause, arthritis, Asthma, Skin conditions, Weight Loss and more there are many products to help you. These products are much less invasive then many prescribed treatments and will balance your system physically and mentally.

As like some of you I don’t necessarily like to talk about my conditions, but these nutrition products make a huge difference to my quality of life.

Please email me with comments or questions on DM or email me on the form below to see whether we can help you out or, other loved ones with any of their health concerns.

If you can think of anyone who you think can benefit from any of the listed information please feel free to forward this article to them.

http://www.thehealthsuccesssite.com/webber.html

About the Author:

Artist and Health Consultant representative.

Working as an artist for over 20 years. Have a love of the environment and politics, which don’t always go hand to hand.

Lateral thinker who likes a challenge.

Article Source:
ArticlesBase.com
–
Artists and Depression

By
Nina Alvarez

Your website is ready to go and you’re just itching for buyers, but where are they? First, find your niche online, then, effectively focus your time and efforts on those who are most likely to buy your art.

*
Associations
. If you haven’t already, join at least one art association in your medium. Associations usually have online forums and will send you emails chalked full of links and info about collectors, artists, galleries, resources, and organizations in your art community, most of which will be accessible electronically and will save you tons of time. The Artspan portals list hundreds of art associations. Check out Painting, Photography, Ceramics, or any of the 30+ art portals.

*
Forums
. Next, join forums specific to your art at Artspan and WetCanvas and anywhere else with a strong community. Do an online search to find these. Then, join forum conversations populated with thoughtful and interesting threads. Stay away from the vitriolic, rambling, or off-topic. Read posts, visit website links, and check out blogs, leaving comments wherever you can. In turn, talk up your art and post your website link in the forum and website comment sections.

*
Social Networking
. Join general social networking sites (Facebook, Myspace, Bebo) and vertical (niche-specific) social networks (Ning). List your website URL on your profile and post your website to ‘share a link’. Some Facebook groups, like Black and White Photography have over 40,000 members, all potential readers of your website. All you have to do is leave some comments and post your URL. (Extra tip: if you have a niche so specific that you can’t find it online, try starting your own social networking site at ning.com.)

*
Social Bookmarking
. Social bookmarking sites like del.icio.us and digg allow you to bookmark pages you find relevant and see what other sites are getting buzz. Find the people bookmarking the same pages as you and strike up a conversation by sending a ‘thank you’ for an interesting lead.

Nina Alvarez, Chief Editor of
http://www.Artspan.com
– an online artists community, and writer of the Artspan blog on art marketing. She also created the Philthy Art blog offering encouragement to writers and artists, and the popular poetry blog NinaAlvarez.net. Nina has an master’s degree in English and is

Article Source:
http://EzineArticles.com/?expert=Nina_Alvarez

http://EzineArticles.com/?Artists—Finding-Your-Niche-Online&id=1760518

By
Sarah Schmerler

Author: Peter Elbow; Title: “Writing Without Teachers” by far, the best
book I’ve found to advise artists on how to write.

Author: David Bayles; Title: Art & Fear: Observations on the Perils of
Artmaking – inspiration and encouragement.

I’ve taught Writing for Artists for many years at The New School, and that
Elbow book (until I write my own book!) is the only one I know that can start an
artist off with the right attitude. What does Elbow say?: That you can’t know
what you’re going to write until you begin writing. Writing, my artist friends,
is a Process – no different than painting or printmaking or sculpting. Over-think
it, over “outline” it, and you’ll kill your own creativity. No one wants to read
something cliched or boring or dry.

My advice: Don’t make your artist statement sound like a “statement.” Make it
sound like you.

Stay away from telling us what your work is about.’ Tell us about’
yourself, and what you do. Just start with that, and be honest. Your reader will
figure out the rest – and will be grateful to you for letting them make their own
conclusions.

Here’s my do’s and don’t list from recent workshops. It’s better when
internalized, over time. But for those who want a quick fix, here you go:

If you want me to edit or re-write your statement, you can contact me
here
.

About Sarah Schmerler


I’ve been an art critic and journalist in New York City for 12 years. My
writing has appeared in newspapers like The New York Post and The New York
Times, weekly magazines like TimeOut New York and The Village Voice, and monthly
and bi-monthly publications like Art in America, ArtNews, Photograph, Art &
Auction, and Art on Paper.

I’ve taught writing at The New School, and art history at Pratt Institute’s
School of Professional Studies and Medgar Evers College, CUNY, Brooklyn.

I’ve developed a writing methodology specifically geared toward visual artists.
I help artists write great statements about their own and others’ work.

And I’ve run an artist-writer collaborative called CoLAB since 2007. (You can
read about our exploits soon.)

Sarah Schmerler.com

Author:
Tom Gauger

As writers, it’s often difficult to be objective about writing and any aspect related to writing and creating the demos that are used to shop songs. As a former talent booking agent with the William Morris Agency, I can tell you that with all of the vast array of talent and gifted writers, only a few make it to the inner circle. There are various reasons for this, but none that come close to what we will spend the remaining time in this article talking about. Many a hopeful writer and artist walked through the doors of William Morris only to find that the magic they thought they had come upon, vanished in a moments notice. Why is that? Why do some get the writers and artist deals with virtually no writing innovation, while others, with up in your face talent, not getting the due recognition and artist album cuts so richly deserved? Let’s spend a few minutes together talking through a few basic concepts to hopefully get you moving in the right direction.

As founder of ReelMusician.com, it is and has always been my goal to see rising talent succeed and make it to the top. We strive to always remain approachable, authoritative with music industry resources and information and provide relevant services such as creating master quality song demos for rising song writers, top notch jingle demos for singers trying to break into singing commercials and effective press kit writing for artists trying to establish their careers. We are already in that mode of how to help singers and writers break through, which is the foundation to why we exist and with all of that in mind, I want to share with you some ideas that will help you get your career jump-started.

Always remember that content is king. You can’t very easily take a story without a decent plot and try to pitch it. Same thing holds true for your writing and career. One of the problems today, is that many would be artists and writers clutter the playing field by utilizing technological advances and use their friends computer, keyboard and mic to record music and think they have a chance. And because music equipment and software has become so affordable, many who would not ordinarily approach the idea of writing or becoming an artist now feel that they have to have their chance at stardom and so the A&R, managers, booking agents and all other ancillary music industry offices are flooded by material that is not even close to being a go. It’s a waste of everyone’s time. The thinking is just because so and so made it, I could make it to. Well that might be true, but for the every one of the so and sos that make it, there are thousands to possibly millions that don’t. Think about that. Go for your dream, but make sure that you have a decent plot to back up your artist story line.

Once you have established that you have credible talent, and the fact that you are reading this article is probably a good indication that you have some credible talent, you will want to figure out the best approach to selling your songs, artist deal or break into jingle singing, whatever the case might be. I will tell you, as I’ve stated before, that everyone has their own story to tell in how they broke into the music industry, but I will tell you that there are a few golden concepts that you should employ to increase your odds. Always remember that creativity coupled with authenticity will go along ways in your career. There are so many phony people out there inside the industry and out, that when individuals who are decision makers inside the industry find authentic and truly gifted talent, they are pulled to it. Do you have a record cut or a record deal, maybe, maybe not. But the fact that you now have an ally inside the inner circle creates a much broader platform for your career to take off from. The fact that now someone who holds some influence and who has taken a liking to you is strong – really strong. You develop these types of relationships whether at area writer’s meetings, artist showcases, or other various ins that you can find and think of in your area, and you will be well on your way to getting your demos not only listened to, but listened to with interest and on an inside path. Don’t be users. Figure out ways where you can have conversations totally outside the music industry where an individual truly thinks you care – if your career comes up the conversation great, but if not that’s fine to. And if it does come up in the conversation, don’t make a big deal of it.

Your song demos have got to be the best no questions asked. Your productions better sound better than what’s on the radio. Figure out the key musicians in your area and produce your song demos with no excuses. I’ve said it before and it’s worth repeating, that it’s better to have a slimmed down song demo version with an incredible guitar or piano player and vocals that just melt, than a fully produced song demo that’s pretty good. You hear that. Don’t produce pretty good demos – They’re not good enough. When you get the opportunity from a heavy weight in the industry to listen to your song demo, artist demo or jingle reel, it’s far better to have an incredible demo done with a few musical elements that just wow the listener. Chances are you won’t get another chance, and so your listener better remember that your demos not only sound good, but will make him or her look good when they go to pitch your material. Don’t hesitate to contact us at ReelMusician.com if you have any questions about demos, what you’ll need and your current writing and artist demos.

In closing, and I never feel like I have enough space to cover all of the relevant ideas in a given article, please take these few simple concepts seriously and implement them in your career goals. Don’t get all stirred up about the latest and greatest this or that or your having to be in the “in” musical crowd to get a record deal or to get your songs cut. Just develop authentic relationships and make sure that your song demos, jingle reels and artist demos are simply the best! Please feel free to contact us for any questions you might have!

About the Author:

Mr Gauger is a former talent booking agent with the William Morris Agency and founder of

http://www.ReelMusician.com

You may contact the author at
tgauger@reelmusician.com
. Free e-books “The Jingle Singer’s Guide,” and “Secrets To Great Song Demos,” may be downloaded at

http://www.ReelMusician.com

Article Source:
ArticlesBase.com
–
Artist Song Demos – How To Break Through And Sell Your Songs!

Author:
Paula Andrea Pyle, MA

Getting Rid of Superficiality A Mode in Cosmic Therapy

Up until this particular point in your life, you have been able to maintain an agreeable façade of “acceptance” with the status quo. [At work and in your present relationships] But recently, things have begun to shift. A certain obvious restlessness has entered your body without your being aware of where it came from. {Even IF you could pin-point its origin, you’d be wrong.} An anxious unsettledness has developed in your gut; one, you simply can’t explain. You’ve begun to question things you’ve always taken for granted. People’s remarks bother you more than they ever have while certain facial expressions don’t seem to mesh. A certain ill-defined tension fills the air, almost as if you have to be extra nice to fill in the ‘gaps’ in the conversations. When you try to bring up the “let’s don’t mention it” subject, no one seems to know what you are talking about. But, you do.

You’ve noticed yourself being less patient and tolerant of things that never bothered you before. Something’s definitely going on. You feel instinctively that “something just aint right”. What you don’t know, exactly yet, is how and what to do about it. You realize you’re not going to settle for how things have always been. “It’s just a matter of time”, you hear yourself saying without fully realizing what you are referring to. An unambiguous change is taking place deep within, moving its way to the surface. You’re not so numbed by indifference that you don’t realize what’s happening. No mistaking the uneasy sensation. An unbridled restless spirit is demanding some sort of action. Like Dorothy in the Wizard of Oz, you want to see what’s behind the curtain, if anything.

As that curtain of ‘supposed reality’ is drawn back further to reveal the inward state of your gnawing concern/unrest, so shall you be able to see ever more clearly those things that seemingly hurt (confuse) but never injure (delay). You are subconsciously imbued with a grand design, so implicit that you have never stopped for even one second to realize that when you were trying to adapt yourself to someone else’s standards, ideas, and thoughts of how you should conduct your life, you were ‘throwing’ your essence to the wind. [Now, you must collect yourself.] Little did you know that the

same

wind you so indiscriminately threw the pieces of yourself away into would blow back to you those sacred things which make you who you are when you were ready to receive. You are ready.

Slowly, you are arousing as if from a long slumber in hibernation, opening a slight area, JUST enough for you ‘to rediscover the essence of what you’re made of.’ You are beginning to remember yourself in such a way that surprises you. (Little broken fragments [memories] of glimpses [sensations] that make no logical sense) The first faint stirrings are awkward and indiscernible. At times, you like the sensation, other times you don’t. Because the sensations are so new and unfamiliar, the inner commotion disturbs you somewhat. It could be called
sexual i
n nature, but you are able to perceive a sensation much more diverse and intense.

You find yourself daydreaming a lot; wondering: who is this shell of a person who goes by your name. You find yourself wanting to explore what really makes you tick instead of floating on automatic pilot. This ‘funky’ personal awareness seems difficult to comprehend as the layers begin to peel themselves away. Exposing the inner void becomes quite distracting while the disclosure of newness does not relate to other things in your life. At this junction, it’s supposed to be distracting. You are being summoned: “It’s time to pay the music man. Show up for the dance of your life.” From now on, everything you do that is not in line with your specific ‘not yet divulged destiny’ will pale in comparison to what you so earnestly desire to do. You need not understand it. In fact, IF you did, you would be
manufacturing the process and anticipating the result.

You realize you have never been this clearly disconcerted before. Up until now, you were able to ‘go along with the program’. Not any more. No longer can you feel guilty about what you need. More importantly, you are realizing quite succinctly: you don’t feel guilty or obligated to anyone or anything! This thought dishevels you, somewhat. You’re not sure how this affects you. {And, more importantly IF others are able to see the transformation taking place inside.} Such strange, yet wonderful stirrings are surfacing. Wild, crazy, imaginative, original creative instincts that make you smile when you let yourself envision them. You absolutely will not sublimate your deepest desires nor continue to play a fictitious role in order not to rock the boat. You are determined to SEE what’s going on. “Turn the damned boat over IF you must, just feel something genuine!”

The plain fact is: You are more than adequately equipped with the intrinsic artistic tools needed for the personal creative exploration in your individual life. You are powerful and influential. You need not ask permission or seek acceptance in your chosen plight. No one other than yourself can decide what makes you happy and fulfilled. To others, “it” {whatever is important to you} may seem foolish and unproductive. That matters not! You are driven by an imaginative unyielding impetus that begs your attention and care. Bottom line: You are an artist in search of his/her art. You will not be satisfied until you discover, expose, express and connect “IT”.

You have lived much too long with these incredible sensations buried, not knowing how to express them. You shoved a lid on the innate sacred voice trying not to ’cause a scene’. Because of your inordinate need to be accepted and loved, you bargained with plastic feelings only to feel worse for having done so. You were acutely aware of being so radically different/disapproved of, {IF you voiced you true feelings} you pretended to go along with people and plans that you {in some cases} actually abhorred. This superficial tactic, disguised quite well in a seemingly concerned supportive personality, was the survival mechanism you learned quite young in order to manipulate your circumstances. You did whatever it required to ‘get by’. Because of deeply instilled insecurities, you never liked being set apart from others, often assuming insults when none were present. The overwhelming feeling of alienation so engulfed you, {this is where you would begin to fabricate things}, that in some instances you genuinely believed your own lies. The episodes, you helped to create, were followed by weak vulnerable embarrassing situations, established by and filled with, inappropriate bouts of jealousy and envy. You KNOW these things are true by the amount of times you say you’re “sorry” in the run of a day.

The more you try to fit in, the more you experience failure. Again, powerlessness engulfs you. SIDE NOTE: No one likes to feel powerless. That’s the number one barrier in human relationships. {People will do just about anything to hold onto power they assume they possess.} When you engage in these types of measures of control, you end up feeling lonely; afraid you will be totally shut out of the activity. And, to you, any involvement is better than none. You experience such high levels of “I’m not good, pretty, smart, and rich enough” anxiety in the ‘abandonment’ department; you will literally almost sell your soul to alleviate, or at least, diminish this horrendous self-deprecating experience. You are apt to fall at the feet of anyone who would show you two seconds of flattering words, emotional appeal or romantic magnetism.

But during the course of eliciting and sustaining an involvement what happens? You walk around silently mad. {For no reason other than your indecision and lack of initiative to step out of the safety box.} You’ve always felt unsure of the relationships, as if you have to barter your affection. The putrefied anger you harbor eats away at you, poisoning the mind. You hate the feeling of being deprived of the things {lucid fantasies as, only you could invent} others seem to possess and enjoy.

All the while you judge, complain, compare, and condemn, you hide behind a mask of concern/consideration. But, now the mask has slipped. To reposition it would only make you feel more superficial. The game of denying is over. You simply can not refuse to say what it is you truly want one moment longer. Do I hear you gaping as you respond, “But, I don’t know what I want?” Oh! Yes you do. No one but you has the combination to THAT lock. Part of realizing your aspirations and dreams is being courageous enough to speak them aloud. What do you want? What do you really w-a-n-t? (w-ish a-nd n-eed t-erribly) Can you take a sheet of paper and write down 10 things you honestly want in importance from least to most? After writing those ten things, toss that paper in the trash. Write 10 more. After you have done this 5 times, the very next thing you write will be your greatest desire. Finally, denial’s gratification will shout at you in 750 foreign languages.

Why 50 times? Because the basic survival need to please and gratify others has been so great, you will write things on your paper that involve others.

These things are phony.

You have so identified yourself with someone else, along with his/her needs that to possess a genuine thought of your own will be a little abnormal for you. You must regain your own mind. This begins by stopping the compulsive need and verbal act of constantly checking with others to see how they feel. You want to know if they like whatever it is you think you like before you can decide if it’s good enough for you. Cease it immediately. Accept the fact; that clever ploy of yours is nothing more than a calculating scheme to maintain your so-called security base. State aloud: “When I am trying to control another I am the one being controlled.” You are like a parrot mimicking the words. {Empathetic Words that ring so false.} Write the sentence if you must 1000 times, until you break free of the idea of your being able to
make
someone love or stay with you is utterly ridiculous.

Realize once and for all times, you’ll readily agree with and buy into the idea of being in LOVE {includes and emphasizes your need to hang on} for no other reason but for personal benefit to forestall the incalculable idea of being unlovable. But, the downside of this scary notion is you end up with a sense of warped gratitude. You don’t care, nor are you interested, but in an effort to avoid confrontation, {meeting the demon of solitude in yourself} you smile and nod in cheerful affirmation. Your need to be thought well of, respected and admired is so great it’s almost pathetic.

You have become so afraid of voicing your own ideas that you have blended into the woodwork lacking any genuine kind of authentic flavor or color. You are BLAND. When the pressure has built to the point of no return, you inappropriately express yourself through unwarranted emotional tirades, bouts of unexplained anger and unprovoked verbal attacks. Then, you spend useless hours wondering why you acted in such an inexplicable manner; adding guilt, remorse and regret to your already overloaded plate of disappointed expectations. Give it a rest. Your mind is surely overworked and undervalued. Stop jumping to all those negative conclusions you so easily and readily sling away from yourself.

Why not accept the fact of how spoiled (starved) you are? {I see the hairs on your back stand up like a mad dog at the audacity of my implying such a thing.} Accept your demanding, overbearing, self-serving, callous nature and be done with it. We all have to sooner or later. Realize just how much you DON’T want to change a thing about you. But, in order to free yourself from the onslaught and oblivion of superficial chaotic ‘molly-coddlings’, you must see yourself in plain view [complete with all] of the selfishly greed driven lustful ego distorted desires for pleasure and attention. The more you try to disguise your vain deceitful lazy uncaring and unconcerned ways, the more they will become exaggerated. You are petty and nit picking. You simply can not be satisfied; the lengths and depths you will go to stir up confusion and chaos is mind blowing. Who cares? It’s much better to know what you’re dealing with than trying to blow smoke up your already blazenedly inflated ‘victim’ ass.

The gig is up.

Your artistic authentic nature demands you to: “Return home.” Fulfill the first commandment in you. No other face can replace your own. No other hand can fit the ploughshare. Unless you take care of sacred business first, the other will suffer needlessly and you will too. You are an unfulfilled sacred artist who has become bitter and resentful. The sacred sexual impetuous is willing and able to set you free. [Not in yourself but from yourself] You have never been alone, nor will you ever be alone. Face it! This unsavory predicament is the exact circumstance you called into existence to push you over the barrier of a self-pity debasing sickness into your fully liberated realized creative self.

You are a Master of Divine Essence who has forgotten his/her celestial artistic heritage. It’s you that you are dealing with. It’s you who is thrusting. YOU are the only one you are in search of to expose, explore, express, and experience. No other subject will compensate for the failure to accept the responsibility of the ineffable sublime pleasure locked within the treasure chest of unspoken words {art, music, drama, written word}, of supremacy in your human body. “Physician, Heal thyself.” “Take up thy body and walk.” CREATE. EXPRESS. CONNECT. SHARE.

About the Author:

Proud Native {Born, Bred, and Resident} of North Carolina, married 39 spectacular years, 6 children, 11 grandchildren.

I am passionate about love, living, laughter, liberty, learning, listening, loosening up, lounging, lunch, liveliness, literacy, lip stick, letting my hair down, leaping, leaning, libido, lifting, linking, looking, lodging, lemons and lyrics.

My personal and professional background is wide and varied. I have a BS in Communication with a MA in Art Education. I am a Cosmic Therapist, artist, entertainer, singer/songwriter, musician, composer, playwright, perfumer, astrology, author, teacher, speaker, poet and self-taught chef.

I am also a radio/television talk show creator, host and director. In addition when I’m not busy, I maintain a presence at M.O.D.E International School of Esoteric Arts and Sciences of which I founded many years ago,

Article Source:
ArticlesBase.com
–
Artist In Search of His Art

Author:
Paula Andrea Pyle, MA

Tapping into the Cosmic Therapy in You!

MAN is an artist. Man must create. He lives to express. He breathes life into his work and through this work he is sustained. Man may not recognize the enormous innate artistic talent, along with the other sensual flowering gifts he possesses, but nonetheless, he is endowed to an overflowing pulsating measure. “Your cup runneth over…” He may, in fact, live his entire life under the false assumption that he has no artistic talent by any stretch of the imagination. He may reply: “You’ve got it all wrong.there’s no way I’m an artist. I can’t even draw a round circle.” {Most people can’t without assistance.} Furthermore implying, he has no musical ability whatsoever.

Wrong!!! These erroneous ideas are false. Inaccurate assumptions have possibly invaded his mind {instilled through faulty teaching, unenlightened reasoning and uninformed conditioning}. Or, he, at the vulnerable age period between 9 though 12 years old, (A most critical and crucial stage of life!) was temporarily abruptly cut away from his gifts due to extenuating factors beyond his control. [Usually having something to do with sexual induction] The key, here is to reconnect to that artistic self which was interfered with or obstructed for a season.

The hard lessons offered, experienced and indelibly learned [during this most sensitive and influential time] proved to be invaluable along the path,[Pain and shame are closely related.] but, while he was on the ‘other journey’ of such , no doubt, he ceased all artistic activity. His life was overshadowed by situations, circumstances, and events that were certainly painful, frustrating and tremendously disappointing. {Possibly, emotionally debilitating.}These experiences created a long-suffering problem. IT seemed as if, he would never be able to realize his most cherish dreams; so, he buried them. {along with his enthusiasm, hope, belief, trust, faith} It would take years before he was able to reconstruct the cosmic pattern held within.

The once unspeakable problem, however turns out to be a blessing in disgusie. Due to the fact that the zest for life may dwindle but the divine spark which ignites the flame never ever goes out.
You continue to be what you are no matter what you go through.
In fact, what you go through only intensifies your talent! “Hurt Me One More Time, Please!” A sacred opportunity to study, relate, combine and appreciate the specific elements of your personal journey as you apply them in a truly artistic manner.

The premise of
Cosmic Therapy through ART
is to present the untarnished concept that EVERYONE, no matter age, education, intelligence, size, background, training (formal or none), culture, race and recognized ability is in fact an artist, as true and pure any artist who has ever lived or been acknowledged. Though he may not be aware of it, man is imbued with enormous undiscovered, unrealized, undelivered artistic
talent
.

Every breathing mortal desires only one thing while he’s alive: to connect. He longs to communicate feelings, ideas, thoughts, music, stories, visions, and individualistic expressions. If he has been prevented from sharing these innate talents and gifts, a vital part of that discarded artistic self has died. He and his indelible talents have lain dormant so long, he has almost forgotten he possesses them in any manner. But, as it is written, Lazarus came forth ONLY after having already started to rot. Have you begun to rot? You, along with your special artistic ability and talent can be resurrected. Instead of living a second hand dispassionate life, you can and will unveil and activate these individual powers of magnificence. You already do. The pure sacred sexual impulse generates your every move.

No one has the right, authority, or enough in-sighted brilliance to infer to you that you have no artistic talent. That ignorant statement is a lie. Man is created and immersed in an ever on-going artistic story. He always has been. You are never without being actively involved in art. I submit by careful, committed and applied study of the
Cosmic Therapy
found singularly in you, through, and about your environment, weaved immeasurably throughout your intimate relationships and carefully diffused in business arrangements; you will be able to locate the obscure repressed artist within. Even though you may be too shy to admit it, or too embarrassed to say, you earnestly yearn for the opportunity to unlock your ‘Vault of Artistic Treasure’ just to see what is lurking there.

No need to remain frozen in a mumified state. “Lazarus, Come Forth!”

Man wants to correlate his individual existence into something of lasting and purposeful definition. Man desires to experience life passionately and through this personal experience of living, elicit from himself something of value. Artists want to know what’s down under.

ART, in all of its myriad forms, remains the single impetus by definition. ART will not apologize to the Artist. It demands a love, passion and obsession so utterly pure that one gist of gain, value or praise expected from it deforms and cripples the talent. “To whom much is given much is required.” Man, the Artist, assigns untold obligation upon himself and requires such a state of unification ‘in and of’ himself that nothing short of a divine contractual commitment will suffice. Otherwise, he and his work would simply fade away.

Artists make people feel. It matters not what that experience consists of as long as it moves him in a direction beyond where he presently resides. The signs and symbols pervade us. We need not go in search of beauty far from our feet. Pulsating, vibrating, gyrating energy surrounds us in everything we can see, feel, hear, touch, and smell. True Artists know. They intuit the life altering energy permeating every step encountered as they walk upon the ground. They relish in the organic experience associated with the sacred energy waiting to be revealed, recognized, harnessed, channeled and detonated into celebrated joyful artist splendor.

The truth is: We, as Artists, exist to produce because we recognize and receive that which is beyond our mortal comprehension. We know that the force that flows through our brushes, chisels, pens, palette knives, hammers, and other means of Artistic expression do not completely reside within us. We starkly verbalize its appearance and abruptly acknowledge the receipt of its expression of celestial origin. We receive so that we may share in its ecstasy and unfathomable bliss. We exist to find, bond, discover and express all that we can of that which saturates us. The grave will ensnare us all. But, not before we make our mark upon the canvas of life. ART transcends life. ART speaks when the tongues of those who so desire to reveal the ugly truth is cut off and out.

About the Author:

Proud Native {Born, Bred, and Resident} of North Carolina, married 39 spectacular years, 6 children, 11 grandchildren.

I am passionate about love, living, laughter, liberty, learning, listening, loosening up, lounging, lunch, liveliness, literacy, lip stick, letting my hair down, leaping, leaning, libido, lifting, linking, looking, lodging, lemons and lyrics.

My personal and professional background is wide and varied. I have a BS in Communication with a MA in Art Education. I am a Cosmic Therapist, artist, entertainer, singer/songwriter, musician, composer, playwright, perfumer, astrology, author, teacher, speaker, poet and self-taught chef.

I am also a radio/television talk show creator, host and director. In addition when I’m not busy, I maintain a presence at M.O.D.E International School of Esoteric Arts and Sciences of which I founded many years ago,

Article Source:
ArticlesBase.com
–
Art: A Sacred Art I’m-Pulse

Author:
John Morris

For some people art is just something you put on your refrigerator doors. It is something you have to do for schoolwork, or to while your time away. In truth, there truly is something beneath the surface of art that will tantalize every student and teacher. And this is the truth behind art education.

Q. What Is An Education In The Arts?
A. Art Education is the means by which a student gains an understanding of form and design. An education in the arts is typically divided into three areas – the fine arts, such as music, drama, sculpture or painting, the general arts, programs such as education, criminology, etc, and design, such as graphic design, web design, or interior design.

Q. Why Arts?
A. Art has a great power to influence people. It also has a significant effect on the history of man. Art may seem like it is just something pretty, but under the hood it boasts of a pretty powerful engine. One that has shaped the world, and indeed your very life. You can’t go one day in the span of your life without being exposed to some form of artistic design, from the

A wise man once said that an education in the arts is the absolute best education one can have because it exposes you to the most general field of studies. Over time, you will know a little about everything. If you chose a more specialized field, you would gradually learn more and more about less and less. And I’d rather know a little about everything than everything about something, don’t you agree?

1. Express Yourself

Art is by far one of the most rewarding careers because, unlike a career in the sciences or a trade, it allows you to express your creativity. And no two days are the same. The power to captivate and inspire is also very rewarding. Hasn’t the Mona Lisa drawn its share of oohs and aahs? And hasn’t many a tear been shed at the beautiful works of art around the world? Man has always expressed his deepest thoughts and desires in a tangible form. This form is Art.

Industries need artists who have had a good education in Art. Creating labels, stickers, and advertisements for their products isn’t easy. These things require plenty of thought and design. Every detail has been considered to make its effect on the consumer optimal. Have you ever been interested in a product simply because of the packaging? This is art at work.

2. Art Is Everywhere

– Color
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– Television & Movies
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– Clothing

3. Who Should Study Art?

Almost everyone has gone to art class in grade school or high school. Even those who are not artists can benefit from an Art Education. They will come to appreciate the rich history and significance of Art.

4. I Want to Learn! How do I Sign Up?

Art education is not confined to undergrad studies. It also extends to tutors, art classes, vocational classes and other learning methods. Many schools exist that teach the history, principles and appreciation of Art. These schools carry the tradition of imparting to the next generation the significance of art.

5. The Rewards Of An Art Education

You may be tempted to think you will be able to wing it through a career without any formal training. That is possible, but not likely. Industries are on the lookout for those with professional education. Even with an education from a post-secondary institution, in this field, you never stop learning and keeping up with technology.

An Art Education is clearly important to artists and laymen alike. It may not be the path everyone takes, but it is the path that richly rewards those who take it. The riches here are not only of the material kind but that of a good education and a heightened appreciation of the world around you.

About the Author:

For more great arts education related articles and resources check out
http://www.greatartschools.com

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An Education In The Arts

Author:
Jo Mari Montesa

Of all the gifts God gave to man the finest is his free will. Second to life itself. It is the essence of man. It is what separates man from all the other creatures of God. By ones choice or action he is judged if he is worthy to be called the man created by God.

The child of free will is art. It is man’s self-expression. It is synonymous to freedom of expression. Every art is unique since every man is unique. How man perceives art is also unique as how man perceives beauty. As how man perceive life.

Art is like life. It all depends to the person’s perception. Truly beauty lies in the eyes of the beholder. The gauge of how beautiful life is, depends uniquely to every man.

A professor of mine once walked in the streets of Manila during summer. It is very hot, humid and dusty. He noticed a very old beggar asking for coins to the passers while bathing to the heat of the sun all day. Beside the beggar was a newspaper stand. One tabloid headline reads ‘Young Matinee Idol Commits Suicide.” My professor stops for awhile and asks himself how could this young man kill himself when he has everything. Money, women, good looks, popularity, youthfulness, what more could he ask for. While this old beggar is still striving for a few coins. Why not just threw himself to the vehicles speeding in front of him. Like my professor, my conclusion too is that it’s all a matter of perception.

Like life the beauty of art depends solely to the individual. It is how man perceives art that makes it beautiful.

Those who believe that they found the beauty in life. Let as show that beauty to the world. Let as show our art.

About the Author:

Jose Mari Montesa or Jo Mari is a Visual Artist by talent. He has Masters Degree in Business Administration, Accountancy is his profession and currently working in a bank. But his heart really belongs to the Art world.

Since his boyhood he joined many art contests in different mediums. He has informal trainings in Painting, Technical Drawing and Photography. Also, a student and a believer of Humanities.

Jo Mari is also into Photography. He joined competitions both local and international. Some of his Photographic works are now in the hands of private collectors.

Right now the artist is concentrated in painting. Specifically Oil painting on canvas. He hopes that he will be known for this medium.

Most of his paintings are influenced by the rich culture and tradition in the Philippines. For example his series of Immaculate Concepcion oil paintings are inspired by the dark wood used in the icons of the Virgin Mary centuries ago when Spain brought Christianity to the Philippines. This type of wood are used to make the skin complexion of the Virgin similar to Asian or a Filipina.

Jo Mari have also done Landscapes, Still Life and Abstract paintings.

Jose Mari
–
http://www.artmajeur.com/jomari

This website has received the 2008 Artmajeur SILVER

Award

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An Artist’s Statement

Author:
John Burton

The English language is extremely rich, and provides the possibility of precise communication. Our language evolves rapidly, and while some new expressions emerge to describe modern life, many existing words have their common usage modified and corrupted. The term “Artist” provides a good example.

As a young boy, I dreamed of becoming an Artist, and that single word proficiently expressed my desire to paint and draw. Today I am a professional Artist, but have to qualify my title with an explanation.

My aging 1990 concise Oxford dictionary defines an ”
Artist
” firstly as a painter (of pictures).

The word immediately before Artist is ”
Artisan
“, meaning a skilled (manual) worker.

The word immediately after Artist is ”
Artiste
“, meaning a professional performer, especially a singer or dancer.

The terms Artisan and Artiste are rarely used today. Our language has evolved, and Artist”” has become a generic word applied to any person who expresses their self through any medium.

”

The connection between artists and painting has become so diluted that the word is increasingly used to denote “skilled” people in non-“arts” activities, such as “scam artist” (a person very adept at deceiving others), “con artist” (a person very adept at committing fraud), and “p*ss artist” (a person very adept at drinking alcohol).

There is nothing inherently wrong with using the word “Artist” as an all-purpose title, but it does not effectively describe whether you paint, sing, dance, have a manual skill, or are about to empty the drinks cabinet!

So why is it that our language has evolved along these lines? Why would an Artiste or Artisan prefer to use a title that less adequately describes their skill, and invokes ambiguity?

Maybe the change has come about through ignorance, and falling standards of education? Could it be that people think Artiste is the French pronunciation of Artist? Well it is, but Artiste is also an English word with a different meaning – or it was!

Perhaps the change of language is a form of spin doctoring? My dictionary offers a further definition of an Artist as “a person who works with the dedication and attributes of an artist”. It’s not a very good definition, since it effectively it says that an Artist is “someone who works with the dedication and attributes of some one who works with dedication and attributes” (which is a bit like defining sticky tape as – tape that is sticky)! However, if someone is a singing artiste but prefers to be described as an Artist, they are really saying they are more than a singer because they perform with “dedication and attributes”?

Re-defining the word is possibly just a reflection of changing perceptions, and a growing acceptance that art is the act of creation/expression? If we agree to the modern view, which applauds the act of creation rather than the end product, we all become Artists, because we all create something at sometime. This shift of focus from the Artist’s product, to the creative/expressive process severs the necessity for skill, and the title “Artist” is available for use without fear of derision.

I create Portraits for a living. My artwork is not about me expressing my inner self, or being imaginative, but producing a likeness, and working to a client’s specifications. Maybe that makes me an Artisan: a skilled manual worker, and not an Artist after all?

Portraits by John Burton

About the Author:

Portrait artist working mainly from clients’ own photographs.

Article Source:
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Am I an Artist or an Artisan?

I was born in London UK in 1952, and was immigrated to Canada when I was 8
years old. I grew up in Montreal during the 60s and 70s, and got my Bachelor’s
in anthropology, linguistics and education at McGill University. I travelled
extensively in Europe, Asia and the Middle East. I then went teaching Indian
students in northern Quebec, where I met my wife Roma. We moved to Toronto, and
had Sarah and Matthew. I designed websites for Reuters, the Globe and Mail and
GM, and various financial organisations. Although I still dabbled in art, I had
all but forgotten my dream of actually doing what I wanted for a living. Then I
discovered the Artist’s Way by Julia Cameron, which showed me that I could in
fact be both an artist and a success. I took courses in painting and sculpture,
learning the classical techniques and applying them to my own interests and
talents, until I felt confident enough to offer my services on a commission
basis. I now run an Artist’s Way Meetup group, where I try to offer people in my
situation the belief in themselves to follow their artistic heart and become who
they really know themselves to be.

About the Author:

Check Out
http://www.glencram.com

Author:
Mary McNeil

It’s a well known predicament… how can you, as a creative, fill your life with your art and still make enough money to pay the bills? And because it’s so well known, there’s an assumption that goes along with the predicament. An assumption that says you simply won’t be able to support yourself financially whilst living a creativity-led existence.

It’s a common belief that in order to live a highly creative life and to produce great art, you have to suffer. The starving artist and the freezing writer in their respective garrets – you know the images. And yet this lack of money is actually a choice. For some it’s a more conscious choice than for others, but it’s a choice nonetheless… A choice against the commercialisation of your art, a choice against the kind of comfort that numbs your wit, a choice against the mainstream, a choice not to have to think about anything so base as money. And if that’s the kind of life you want to lead, then it’s an entirely valid choice… go for it!

But what if you want to live a creative life and to do so with a degree of comfort? Can’t you choose to do that too? And is it possible to do that without having to work long hours and exhaust your best energies in a soulless job? It may take a paradigm shift in your thinking, but I believe it’s entirely possible to live a life that champions your creativity as well as paying the bills.

The assumption that so many creatives fall prey to is to believe that they must make their beloved art pay. An assumption that throws up any number of difficulties for them, not least of which often involves them losing all the pleasure in the creative activity they so love. So if you want to avoid this particular trap and are ready to play with the way you think about creativity and money, there are three mental steps to consider…

– Step number one is to treat the processes of making art and making money separately

– Step number two is to understand that both are highly creative processes

– Step number three is to embrace the creativity of making money whilst jettisoning guilt feelings about it

Wealth creation as a creative process, and purely for the sake of creating wealth, can be enormous fun. It can also be practised within your own timescales, it doesn’t involve having a boss or an employment contract. And because you’re ‘creating’ wealth, it’s not oppressive to anyone else – the money you make is not coming directly out of anyone else’s pocket or pay packet.

The creative avenues to take a look down of you want to make money without having to take on an employed job are well known. Which tickles your creative fancy the most? Property investment, the stock market, the internet, or starting your own business? Each has its own challenges, each has its own areas of specialist knowledge and skill (which are all entirely learnable, of course), and each has great potential when approached creatively.

So when you’re pondering how you could possibly live the kind of creative life that you yearn for whilst still paying the bills, try turning your creative mind in an entrepreneurial direction. Don’t think you have to start big (or you may not get started at all) and don’t expect to make enough money to pay all your expenses this way in year one. But if you start viewing wealth creation as an activity in its own right and get started now, you will be able to pay those bills another few years down the line whilst having time and energy left for the creative pursuits of your choice.

About the Author:

Mary McNeil of
Create a Space
is an experienced life coach, working with artists, writers and musicians. She specializes in coaching and supporting her creative clients as they make creative living a practical and sustainable reality.

Article Source:
ArticlesBase.com
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A Creative Life That Pays the Bills