My Humble Advice to Emerging Artists

My Humble Advice to Emerging Artists

My humble advice to emerging artists:

The word “emerging” means nothing, as others who you cannot control place it upon you. You are an artist, or you are not. Your career stage depends entirely upon you and how you see yourself as an artist.

These are the very best times to be an artist. The democratization of the medium through the digital realm and the Internet are both your friends, and your worst enemies.

As all artists have done before you, you are the voice of your culture. You speak for the human condition as you experience it; you declare your position on the natural habitat and your personal concerns or admiration. You propose ideas that others may not speak of; you are the voice of reason within the craziness of the world. You are the modern equivalent of the oracle at Delphi; your communications are important and crucial to the world.

Find a great mentor, one that does not look down upon you, or comes from an uninformed and biased point of view. Beware of people’s hidden agendas, beware of their jealousy, and find a beautiful giver with an extensive knowledge of art, not a taker or one trying to fulfill their own failures by proxy.

Do not rely solely on social media. Nobody of importance cares about how many likes you have on Instagram. It can be useful to promote a brand, but you are an artist with a message, first and foremost. Don’t waste your time with people that are simply bored, shallow or just ignorant.

Never listen to negative feedback, it maybe relevant at times but ultimately it is your voice, your declarations; constructive feedback is what you seek but a thick skin is also absolutely required if you declare yourself to be an artist.

Always be true to yourself, continue with due haste into your own deep introspection that leads to your work and voice. Resist becoming a consumer through photo exhibition calls and competitions. These are just a revenue business model for most venues; you become the consumer instead of the provider; some are useful to gain exposure, such as highly validated venues or museums, but most commercial concerns are not.

Remember that your followers must fall in love with you first, and your work second. It is about your voice and art, but your communications are what the viewers want to know. It is about you, always, remember the oracle of Delphi.

Always show your work, to as many people as you can. Many will not get it, but a few will. If your work only stays in your studio it is akin to self-gratification, okay but not as much fun as the real thing.

If you have a substantial trust fund, or are financially fortunate, get a book professionally published, preferably in Italy, and get an art rep together with a PR firm. You will get there as an artist, quickly. If you don’t have these precepts, as most mortals do, be prepared for a slow long walk, which is what it should be in the first place. Good art is not microwaved, just saying.

Be at peace with your journey, it will have many roadblocks, many disappointments and misunderstandings. The end result is the journey, for yourself. Everything else is rather irrelevant; you only live once, but if that was a great adventure, once is enough.

Check out the dictionary definition of “emerging” and you will find that it does not apply to you, so let it go. Besides, every new body of work you create, regardless of your career level is automatically classified as an “emergence”.

~ Pierre Dutertre, President, Curator, Co-founder UPA Gallery

UPA Artists Featured in Cincinnati Ohio Gallery Show

UPA Artists Featured in Cincinnati Ohio Gallery Show

Press release

UPA Gallery represented artists Jose Gomez and Annie Gonzalez were selected to exhibit at the Manifest Gallery in Cincinnati, Ohio for the 9th Annual International Competitive Exhibit Exploring the Uncovered Human Form in Current Art.  The exhibition runs August 18 through September 15, 2017.

Manifest‘s annual projects allow them the chance to track how artists around the world address a consistent theme, subject, or media over time, or allow them to document the state of art in a particular strata of professional creative activity, and to study and preserve findings in a meaningful way through exhibit publications and website.

NUDE is one such project. The human body is a popular subject for many reasons, the most obvious being that it is us. Throughout history the representation of the human form has been charged with tremendous energy, both positive and negative. Whether it be a religious edict that one should not depict the human form, a taboo, or the glorious opposite, a revelation of mastery over form in the crafting of sensuous and life-like physical human beauty, the art of the body has nevertheless moved us through time.

Through all the permutations art has experienced across history, work of the body persists. We use the human nude to master skill, understand ourselves, and push social and psychological buttons for the sake of expression (sensual, delicate, political, aggressive, and so on). We intend for Manifest’s ongoing annual NUDE project to explore how our collective body is used today in art to achieve these goals and more.

2727 woodburn avenue cincinnati, ohio 45206

http://www.manifestgallery.org/index.html

 

 

About The United Photographic Artists Gallery

 

The United Photographic Artists Gallery, L.L.C. is the intellectual and practical collaboration of emerging artists in the medium of photography, all with very diverse cultural and generational backgrounds. We are fully engaged artists, versed in the fine art world and dedicated to the excellence of the medium. Our mission is to grow the medium of photography as an overall validated art form and to support other emerging artists in their artistic endeavors with a solid track record in photographic education (fine art and commercial genres), consulting on many levels, international judging backgrounds and curatorial duties, the founding members of UPAG are committed to supporting our members through dialogues and consultations, the end goal residing firmly into a positive and progressive outlook for all involved.

How to present your fine art photography / How NOT to present it

How to present your fine art photography / How NOT to present it

In the past couple of years I seem to be regularly assaulted by many aspiring artists who want me to look at their work. Nothing wrong with that premise as I always appreciate looking at photographic art within many diverse genres.

The problem resides with artists shoving their cell phones in my face, usually accompanied by various comments such as “look at this cool image”, “It took me weeks to do this”, “I was lucky with this one”, “this is an amazing photograph and nobody can do the same”, “what do you think”?

The problem clearly resides in the fact that by presenting your art in such a format has simply denigrated it, trashed it beyond any repair. Art is an important thing, a crucial expression of a most important communication with the world at large, and for many a most compelling endeavor. Now I am forced to look at it on a device that ridicules photography and art as a whole, even with cell phone photography if that is the technique used to create such artistic outcomes.

Recently, a wonderful lady pulled her cell phone out of her bra and asked me to scroll through various unsavory selfies and a few potentially great art photographs. A guy pulled his cell phone from his back pocket, clearly next to his ass, and apologized to the remnants of his lunch on the glass face. Really!

Occasionally, a large I-Pad is presented and the scrolling is either done by the artist, which of course I completely resent (let me see your work at my appreciative pace, not yours), or I am asked to ignore the various cat or dog images intermingled with “the work”.

So, if you truly want to show your artistic work to others, a gallery curator, artist and art consultant, please, please do not use cell phones or electronic devices to show your life’s work and ambitions. Would you turn up at a hot date without bathing for a week? Would you show up at a major job interview wearing ragged and dirty jeans and flip-flops? Would you embarrass yourself just because of neglect, or because wearing a too tight speedo at a classy beach BBQ party sounded like a good idea at the time?

Instead, why not present your amazing art in a printed format? A small Blurb book of your work only costs $25, and you can give a copy to a very relevant person who might just advance your career in a chance meeting. The book will be read carefully, at a pace that allows for appreciation of the art, not the ubiquitous protective stupid case around your cell phone, supposedly representing your so-called “personality”.  

Why not carry small prints of your art? If you have a business card with your professional website (not your Facebook personal page as I really do not want to know what you think, or your opinions about anything at all), I will surely look at your website and most likely will bookmark it for future. As opportunities arise, I refer to, and often pass on to others in the art world, the work of the artists who have shown great and interesting work, no matter what the genre is, who deeply care about what they do and are able to present to an audience. Can you achieve this with your cell phone? NO

So, just stop showing your art on cell phones and other electronic devices that will simply denigrate what you do; Create and produce mini books, prints some small prints you can give to your audience, these will be appreciated and define you as an artist, not a fool. Yes, the world of photography is mostly digital, but guess what you see in an art gallery or museum? Prints. Guess what you sell as an artist? Prints

This is how we show our work. It has brought us many group and solo shows, many sales and a multitude of contacts in the art world. I don’t even have photographs on my cell phone; I use it to make phone calls, not to present our art that is our life, career and profession.


Painting versus photography, an ongoing polemic from the views of a so-called art critic

Painting versus photography, an ongoing polemic from the views of a so-called art critic

Painting versus photography, an ongoing polemic from the views of a so-called art critic

Click To Read The Article

An article I found today, this one will get things going for sure. Read it first, take a breath and understand that critics and writers are often failed artists who resent the art world, or anyone creating art, because they can’t themselves.

Monsieur Jones decries the death of photography as an art form, not unlike the 19th century art elite of the time, nothing new here. I guess Mr. Jones has a gig with the Guardian newspaper, as perhaps another dying form of communication not unlike his lame rhetoric. A quick search of Jonathan Jones reveals that he is firmly in lust with the art of painting, particularly with the Italian Renaissance and nothing else really matters, perhaps an obsession that could be remedied with a variety of chemicals, or better still an exile into the digital world of the Japanese sub-culture.  

Having said that, his premise still resonates with many viewers and the ultimate art elite. The medium of painting still holds onto its status as the most worthy form of art, as a decrepit mansion in need of much repairs, just Google painting and you will see their current demise, the fall of a great empire that was first conquered by photography and now the digital world in its many forms.  

Do you think that the medium of photography will ever gain the recognition it deserves, as an independent art form? Is the connected world of white noise going to simply dismiss painting in the future?

Does he have a valid point, the extreme forms of photography that simply puzzle the public, or is he a repressed writer who is in need of a good drink and perhaps a good relationship?

5 Tips for a Successful Portfolio

5 Tips for a Successful Portfolio

5 Tips for a Successful Portfolio

Written by Pierre Dutertre 

 

1: Your portfolio is the sum total of your photographic experience, technical and artistic skills as well as your individual style, the way you see the world. Without a portfolio you can only say that you are a photographer, but cannot substantiate that statement.

2: Creating a portfolio together with a body or bodies of uniform work can be challenging, as it becomes too easy to become distracted or confused with the unity of your imagery, in terms of genres, styles or expected outcomes with the viewer.

3: The sequencing of images within your portfolio is an essential component to its expected presentation; too often, this sequencing is based upon personal preferences or artificial and rigid categorizations. In other words, a photographer assembling his or her own portfolio can easily become biased due to their intimate and usually confusing knowledge of each image, their circumstances and memories associated with these that are irrelevant to the viewer.

4: Your portfolio is only as strong as your weakest image. The sequencing of images for a portfolio can be achieved by printing small thumbnails of your images, cutting them and then physically assembling galleries that are unified stylistically, by genres, colors, compositions and communicative expressions. Some of the weaker images will often be left out at the end, thereby eliminating less valid or repetitive photographs.

5: It is essential to refine your portfolio. Having an industry professional, curator or consultant review your portfolio on a regular basis will help you refine the sequencing of the images, establish weak or strong categories of work, eliminate unnecessary photographs, as well as establish future directions and potential projects. The reviewer must be completely impartial, extensively experienced in such reviews and able to apply the formal critique principles used in the evaluation of the visual arts, whether commercial or fine art based.