The Messy Studio with Rebecca Crowell: Recent Episodes
Rebecca Crowell
Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend!
It’s what so many artists work toward—a solo exhibit or small group show-- when a large body of work is shown at its best, to an appreciative audience. Preparation for an exhibit like that can take months, even years. Slowly you produce the work, experiencing everything from panic to satisfaction as the finished pieces for your exhibit accumulate. It can be both a draining and exhilarating experience as you head toward the finish line. Finally, your show opens, and then what? You have a few weeks or a month of receiving congratulations and feedback, hoping for sales, celebrating when they happen, and then rather suddenly, it’s all over. Today we’ll talk about the aftermath of an exhibit, a time to process what you’ve accomplished and consider what’s next. Exhibits are milestones in your art career, and it's important to take some time to process your accomplishment, by observing how you feel about the work that was exhibited. Take some time to appreciate seeing the work as a body, hanging together, and to consider what might be next. What has changed in your vision and intentions? Many artists also experience a lull or creative block following the big push of having an exhibit. Although this can be frustrating, this downtime can also be beneficial as a time to rest and find your way back into your work. You may need to step back to gather new ideas and energy. Keep your long-term goals in mind but allow yourself some time off. The issues of sales also tends to occupy you in the post-exhibit period. Friends will inquire, and your own finances may cause you to feel anxious about having some income from the show. But try to remember that sales are not the measure of a good exhibit. There are too many factors influencing whether sales happen to use them as a gauge of success. Nobody but the artist really understands everything that goes into producing an exhibit. Your own perspective is the most important and that needs to be focused on the big picture of your work, what you've learned and where your work may be heading. There can be a lot of distractions around a show—sales, publicity, contacts, exposure. A lot of that is exciting and can lead to new opportunities, but in the end, you go back to your studio and work. You are not the same artist you were before you went through this process, and it's time to move on. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). • When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry enter the fourth year of live programming, they are bringing a special emphasis to reviewing and consolidating prior learning, as well as to increased member involvement on a variety of topics like professional development, mentoring issues, and other questions posed to the group. As always, Members are also encouraged to take part in the online sessions, where lively discussions take place as Rebecca and Jerry respond in real time, And don't forget that Cold Wax Academy Members have unlimited streaming access to over 100 previously recorded sessions covering a broad range of topics. You don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information there, from the effective use of the visual elements and composition, to personal voice and intentions, to personal issues like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. • For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast • For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com • The Messy Studio Podcast is a Tick Digital Media Production.
If you’re an artist who wants to get your work out into the world to be seen, appreciated, and even purchased, you will face the need for self-promotion. If that idea makes you squirm, you are not alone --and this podcast is for you. Why do so many artists hate the idea of promoting themselves? Probably because many of us were taught from an early age to be modest, to avoid mentioning our achievements, and to be grateful for whatever life handed us without seeking more. But dealing with the art world requires a different approach. You need to let people know who you are and what you do if you want to advance your career. Today we’ll talk about ways of self-promotion that may be comfortable even if you have a reserved, humble, or quiet personality. If self-promotion is stressful to you, you may be struggling with overcoming these early lessons. Or you may have a truly humble or quiet personality that you're happy with, but it holds you back from things you need to do to get your work into the world. However, self-promotion does not mean you have to change who you are. In fact, the best way to handle it is to be yourself, and not present yourself in a way you believe will impress others. If your true personality is low-key or reserved, that is the tone to use in your self-promotion. That doesn't mean being self-deprecating, which is never helpful, or on the other hand exaggerating your achievements. Being honest and direct is the key. Although avoiding self-promotion may be an ingrained habit, you need to acknowledge that it is necessary to operate in the art world. Your potential collectors and others in the position to help you want to know about you and what you do. A confident attitude is important in these situations, whether you are crafting a written statement or speaking in person. If you have trouble with this, remember that sticking to facts about yourself and your achievements is a safe and comfortable entry point. Simply stating these in a straightforward manner is never objectionable to other people. Different types of self-promotion require different approaches, so it helps to know what is expected in each situation. This can range from a formal communication like a press release to something that is less formal, like a blog or newsletter. Lots of times you have some leeway in how to phrase things or how personal to make them, and you can find a tone that suits your true self. With practice, all types of self-promotion become easier to tackle. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). • When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry enter the fourth year of live programming, they are bringing a special emphasis to reviewing and consolidating prior learning, as well as to increased member involvement on a variety of topics like professional development, mentoring issues, and other questions posed to the group. As always, Members are also encouraged to take part in the online sessions, where lively discussions take place as Rebecca and Jerry respond in real time, And don't forget that Cold Wax Academy Members have unlimited streaming access to over 100 previously recorded sessions covering a broad range of topics. You don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information there, from the effective use of the visual elements and composition, to personal voice and intentions, to personal issues like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. • For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast • For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com • The Messy Studio Podcast is a Tick Digital Media Production.
In our last episode we talked about some of the practicalities of downsizing, clearing out, or moving your studio, and tips about ways to deal with your artwork, supplies, and other items that you’ve accumulated. But what about the emotional side of this? We’re going to focus today on how it feels to move out of a studio that has been a very important part of your life. You may be on top of the logistics involved in dealing with downsizing, but you are not a robot, mechanically sorting and tossing. Today we’ll talk about the fact that your studio is a very personal place that can evoke a flood of memories and emotions when you need to leave it behind. And we’ll also mention the benefits and positive aspects of going through this process. A studio is a place to make your work, but it's also much more. It is a sanctuary and refuge, and a place of contemplation where you have spent countless hours working, thinking, and observing your work. Your studio represents your personal history as an artist and all its ups and downs. So it’s no wonder we get attached to our studios as well as fill them with a large buildup of objects and inventory. The physical objects themselves hold memories and feelings that can be overwhelming at times. Pressure to meet moving deadlines, confronting your habits of hoarding or over-purchasing art supplies, and perhaps regrets over work that was never finished or sold that can all be stressful and bring up difficult emotions. Yet there are also fascinating and rewarding parts of the process when we see connections to older work, or are reminded of art friends, mentors, and experiences as we sort through our stuff. You may feel deep gratitude for your life as an artist when you realize the depth and breadth of your work and life as an artist. Anyone who is on the other side of major downsizing tends to be pleased and relieved. The process gives you a fresh start and provides a sense of feeling more organized and purposeful. Instead of a jumble of bits of your past, with perhaps only minimal organization, in your new space you will know precisely what you own, where it is, and overall, you will have a good sense of what everything you’ve kept means to you. It's easy to lose sight of these positive aspects of moving while you are in the middle of this often-exhausting process, but they do await you. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). • When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry enter the fourth year of live programming, they are bringing a special emphasis to reviewing and consolidating prior learning, as well as to increased member involvement on a variety of topics like professional development, mentoring issues, and other questions posed to the group. As always, Members are also encouraged to take part in the online sessions, where lively discussions take place as Rebecca and Jerry respond in real time, And don't forget that Cold Wax Academy Members have unlimited streaming access to over 100 previously recorded sessions covering a broad range of topics. You don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information there, from the effective use of the visual elements and composition, to personal voice and intentions, to personal issues like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. • For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast • For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com • The Messy Studio Podcast is a Tick Digital Media Production.
The contents of an artist’s studio tend to be anything but minimal. Most of us accumulate a lot of art supplies not only for our current needs but for other projects that we have in in mind, or just because we love the possibilities suggested by a new material or tool. Then there is our inventory of older work, sometimes going back decades, as well as lots of miscellaneous items that tend to land in a creative space. Shelves, drawers, and closets become crammed as all this stuff builds up. Whether you are planning a move or just want to clear out some space, downsizing is a major project. Downsizing a studio requires a great deal of energy and many decisions, and it may be your total focus for weeks or even months depending on the scale of what you’re doing. While the basic logistics of clearing out a studio aren’t very different from similar work in a garage or basement, personal attachment to what you need to get rid of is stronger when it comes to your artwork and other things in your studio space. Much of what you must deal with is intimately tied to your creative self and part of your personal history as an artist. Dealing with artwork is probably the biggest challenge you will face when you are clearing out a studio. There are some good ways to sell some of this work, including holding a studio sale or online sale, especially if you put some thought and planning into the logistics of this. Other pieces may be given away or donated to a local art center, hospital, or charity organization. Putting old work or other items from your studio in the common area of a building that houses artist studios with a "free" sign is another solution. Art supplies, art books, studio furniture, teaching supplies, and miscellaneous things you've collected for inspiration can all be problematic as you sort and decide their destinations. But there will be many items that you realize you no longer need or want. Art studios tend to accumulate decades of your various projects and ideas, many of which you will have moved past. Downsizing or clearing out living space has been a topic for several years in the general media but as artists we have special challenges due to the highly personal aspects of what we are dealing with, and the fact that in terms of the value of things, the usual categories of what can be given away, sold, or tossed, are less clear. It is a challenging project, but the rewards of finally finishing the clearing process are great. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Art openings are fun, right? Your friends and family are there to celebrate, your work is beautifully displayed, you meet new people who are interested in what you do, and you may see some red dots appear. So why do so many artists approach their opening receptions with mixed feelings or even dread? Even if you feel excited about the show and grateful for the opportunity to exhibit, you may feel nervous about being in the spotlight, confused about what’s expected of you, or disappointed by a small turnout. Even openings that live up to your highest expectations can feel overwhelming. Today we’ll take an inside look at how to survive and even enjoy your next art opening. Although there are challenges, openings can also encompass many positive moments. It's exciting to see your work in its best light when it has been in your studio for weeks or months, largely unseen. There is often an elevated quality to the work to see it in this setting, and it is affirming of all your efforts to have your work appreciated by a wide audience. Openings can be disconcerting though. It is easy to misread various aspects of what is happening around you, because there is often a party atmosphere rather than serious consideration of your work, and it may seem that no one cares to really look. There are also many unknown factors, for example, you often try to gauge what people think of your work or whether there will be any sales. And a commercial gallery has certain expectations that may be outside your comfort zone, like mingling and engaging with the people there. To make things easier for yourself, there are various ways to make yourself more comfortable, like choosing the right outfit and having a camera handy to have something to do as you move around the gallery space. But of all the many tasks and business responsibilities artists need to handle, for many of us, our own openings are the among most challenging times. it depends a lot on personality whether you dread openings or take them in stride, but experience is also helpful. Openings do become routine over time, and you find your own ways to make them bearable and even fun. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
As artists we are often in uncertain territory when dealing with the world of galleries, exhibits, and other opportunities, and leaning on assumptions --what we believe you know about a situation --can help you feel more grounded or confident. But when you find out you’ve misread a situation, you may be left feeling angry or frustrated, or blame yourself for not seeing things more clearly. How can you maintain your objectivity and identify your assumptions as you navigate the ups and downs of an art career? There are no easy answers but today we will offer some perspective on this tricky issue. The definition of assumption is "something that is accepted or believed to be true, or as certain to happen, without proof." But proof is very hard to come by when dealing with unknown situations. Nobody can have proof of everything in their lives let alone in the variable and diverse art world. We all operate on plenty of assumptions in our attempts to further our art career. But some assumptions can come from being naive or uniformed about the situation. Many opportunities in the art world are totally legitimate but many are not. Some are basically scams in that you’re being led astray on purpose. This means you can waste a lot of your resources because you trusted that a venue was working in your best interests. But even with legitimate venues and opportunities, we can be led astray by unrealistic expectations and assumptions. You need to be aware of any assumptions about a situation that are blinding you to what is best for you. And communication is always key in understanding as clearly as you can how to navigate various situations, whether you're dealing with a gallery, arts organization, artist residency program, teaching opportunity, or any of the other myriad opportunities that may come your way. No matter where you are in an art career you probably grapple with the pitfalls of expectations and assumptions. Because there are lots of different scenarios you will encounter, it's hard to be on track in every situation. Give yourself a break when you recognize you’ve let assumptions play too big a role. Nobody makes the right calls all the time, but we do learn from experience in identifying our own assumptions. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
In the interest of having a consistent style, artists are generally advised to stick to one type of work --both in the studio and when exhibiting. But many artists are experimental, curious, and explore more than one direction—so this advice can seem too restrictive. In our last episode, we touched briefly on the idea that a range of the same artist’s work can be promoted effectively if done with consideration. If you have more than one direction you may have questions about how you can best present your work when exhibiting or in other situations, and today we will address those concerns. While it is advisable to have one primary focus that you fully develop and go deeply into, there are many good reasons that artists explore multiple directions as sidelines. Working in various media and approaches tends to inspire new ideas, energy, and insights, and helps keep your work fresh. Different approaches may also appeal to different audiences and thus expand your marketing possibilities. But it's important to think about how to present your work when you have more than one direction. Different situations involve different concerns, and you need to consider the audience for each. For example, when approaching a gallery or applying for a grant or commission, you will make the strongest impression if you present only your main body of work. In these cases, the person deciding about your work wants to see consistency and an immediate visual impression. Other situations, such as when you post on social media, hold an open studio, or do a slide talk about your work, it's fine to show the breadth of what you do. In these situations, your audience has more time to absorb your various directions. If you want to show a range of work on your website, it's best to clearly separate your various directions and provide some written insight into your reasons for pursuing them. In the best scenario, your work in various media or approaches will have an interesting relationship. Viewers seeing a range of your work will then be able to deepen their understanding of who you are as an artist. If your ideas come from a strong inner source rather than being very scattered, -they will be more worthwhile for you to pursue,and be more likely to enhance how others view your work. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We’ve talked several times in the past about the experience of attending an artist residency program when you are away from your home studio, focused exclusively on your work in a stimulating environment. We’ve also talked about the importance of travel in general for feeding your creative ideas. But what about when that residency or the travel is over? Will the bubble you have been in for weeks, focused on your work or satisfying your travel curiosity, simply burst? Today we talk about that transitional time back to ordinary life and how that plays out in your work. When you spend time at a residency or doing art-related travel, coming back to your studio can present challenges. Your vision has been altered, and your experiences while away will affect your thoughts and feelings. You may have done work that is quite different in terms of media, scale, or source ideas that what you normally do. You have also probably been free of marketing or business concerns, and perhaps not considering where the work would end up in terms of display or sales. It's good to take some time once home to contemplate the similarities and differences with your previous or ongoing work. Will the work you did while away simply exist as your response to your time away, a separate project, perhaps a sort of travel journal? Or will it contribute to or integrate with the main body of your work? Will you continue to pursue the ideas you explored while away, or is that work specific to the place where you were? It will probably take some time to process the various ideas that your travel has evoked. Part of that may be inviting others to see the work from your time away. Thier comments can provide more insight and they may see connections to your ongoing work that you have overlooked. While as artists we are always taking in new ideas when we travel, doing so with an art focus or as an artist in residence is very different from travel as a tourist. When you are able to create during your trip, you can process your impressions in an immediate way. This can enforce your experiences in ways that will have a permanent effect on your work overall, whether obvious or subtle. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new At Cold Wax Academy? Rebecca and Jerry launched their spring quarter on April 12th. Sessions this quarter so far included identifying compositional issues in your work, and technical information from Gamblin representative Mary Tevlin. Upcoming sessions include a painting clinic for works in progress, and much more. As always, members can join in on live sessions with questions and comments, and can benefit anytime by interacting with other members on our Members-only facebook page. With 100 recorded sessions in the member library there is always something to learn or review, with topics ranging from technical advice to visual language to guests speakers and critiques of member work. To learn more about membership, and to purchase cold wax tools and Rebecca and Jerry's book, Cold Wax Medium: Techniques, Concepts & Conversations, please visit http://www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Many creative people embrace quiet, solitary moments as portals to being in synch with their work. Stepping away from everyday distractions is a way of nurturing your creative self, bringing you more in touch with your emotions, ideas, and the bigger picture of what you want to express. Yet true silence and solitude tend to be rare in our lives, unless we make a conscious effort to bring them in. Most people are aware of the value of meditation and other spiritual practices like prayer as a way of calming and centering and consider it important, usually as a way of starting the day. But once you move into the main flow of a busy day, most of us never pause to find a quiet moment of solitude. A purposeful, brief stepping back from full engagement with your work, a pause in which you take a moment to refresh your vision and can enhance your creative process by allowing you to get find your center and purpose again. It's good to take this kind of pause not out of frustration or exhaustion, but during a good flow of activity. If you stay in the moment but simply pause for a moment to look out the window, take a drink of water, or step outside, you are not likely to lose your flow. Working this type of pause into the rhythm of your process can seem counterintuitive, but one way to create this habit is to simply extend a natural pause-- taking a drink a water or washing your hands--and another minute or so to find something else to gaze at. Solitude and silence are other ways to enhance creativity by bringing your attention inward, whether in the studio or elsewhere in life. Anything that helps you be in touch with your inner thoughts and feelings can be helpful. Consciously making space for solitude and silence in your life can be an important step to going deeper into your work Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new At Cold Wax Academy? Rebecca and Jerry launched their spring quarter on April 12th. Sessions this quarter so far included identifying compositional issues in your work, and technical information from Gamblin representative Mary Tevlin. Upcoming sessions include a painting clinic for works in progress, and much more. As always, members can join in on live sessions with questions and comments, and can benefit anytime by interacting with other members on our Members-only facebook page. With 100 recorded sessions in the member library there is always something to learn or review, with topics ranging from technical advice to visual language to guests speakers and critiques of member work. To learn more about membership, and to purchase cold wax tools and Rebecca and Jerry's book, Cold Wax Medium: Techniques, Concepts & Conversations, please visit http://www.coldwaxacademy.com Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Procrastination may be human nature but identifying its role in your life can be a big help in moving forward. Instead of simple laziness or looking for distractions, procrastination can also be active avoidance behavior in which you channel energy into activities other than what you really want to achieve. You may stay busy, but you’re not doing what is truly important. Today we look at how artists are affected by procrastination and ways to confront it in your own studio practice. As noted in a recent article in the New York Times, "procrastination isn’t a character flaw or a mysterious curse on your ability to manage time, but a way of coping with challenging emotions and negative moods induced by certain tasks — boredom, anxiety, insecurity, frustration, resentment, self-doubt and beyond." Each of these may show up as various aspects of studio practice. Some procrastination has to do with your artwork itself, when you are bored or frustrated, while others are practical chores and obligations.Artists experience procrastination around such topics as finishing projects, organizing financial records, creating and updating websites, deadlines of all kinds, making decisions about materials, and contacting and communicating with galleries. In fact, there are so many aspects to an art practice it’s no wonder that some get put aside, so something to consider in all of this are your true priorities. You may discover that some things that you procrastinate about are not as important or necessary as you assumed. Prioritizing helps keep you from feeling overwhelmed, another procrastination trigger. But although it’s common for artists to allow procrastination to loom large, it is truly detrimental and can sap your growth and excitement for your work. Like so many other challenges of an art practice, it helps to just become more aware of where your own procrastination demons are lurking and try to confront them. Even small steps are rewarding.Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blickWhat's new at Cold Wax Academy? Rebecca and Jerry sre well into their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information.Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio:www.messystudiopodcast.comwww.facebook.com/messystudiopodcastFor more from Rebecca Crowell:www.rebeccacrowell.comwww.coldwaxacademy.comThe Messy Studio Podcast is a Tick Digital Media Production.
It seems to be true for us as humans who sometimes struggle in our lives that identifying the good things in life--what you feel grateful for-- is a practice that leads to more contentment and joy. Thanskgiving in the United States is a traditional time to count one’s blessings and share time with family and friends. Today, Rebecca and Ross share a few things they are feeling gratitude for in their own lives and hope their conversation inspires listeners to think of what has been good in the past year for each of you. Gratitude for family and friends top most people's lists of what inspires gratitude, but there are also many aspects of community and creativity that bring satisfaction and pleasure. For our artist listeners, the ability to work in the studio and to get the work out into the world are significant. Ross and Rebecca would like to express their gratitude for all the followers of this podcast, both those who have been loyeal throughout the two breaks in production last year, and for new listeners. Thank you! Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry sre well into their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We often think of art collectors as people who love art but don’t create it themselves, meaning that the work they purchase may seem to them to come from a somewhat mysterious creative realm. Yet artists are very often collectors themselves, and have a different kind of appreciation for the work they acquire due to their deep understanding of what is involved in creating art. Many artists focus mainly the work of friends through purchase or trade for their own collections. That is not surprising since as artists we know lots of others and have more exposure to artists as friends than the general public does. But many artists also purchase art, from people they know or from complete strangers. Their reasons are diverse, from feeling a personal connection to the person who made the work, to work that moves or inspires them aesthetically. In our homes, we observe and study the work of others on a daily basis, and the work of others can have an effect on our thoughts about our own work over time. Acquiring a work of art creates excitement and a thrill of connection that is very pleasurable and motivating for collectors. An artist who sells their work certainly knows the pleasure of selling a piece, but one who also collects artwork experiences the other side of that experience. As an artist, considering what you gain from your own collection can be interesting. What does work you own offer you as an artist? What feelings do you experience when you buy art? Does your collection feed your own work in some way? Today Show interview by Bob Dotson with Jim Mott mentioned in the podcast: https://drive.google.com/file/d/0B3JOZYESh2KRcG92WlF5T3NvRUk/view?resourcekey=0-5OaRvWVwS3tbLn6ZqjGz-A Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry sre well into their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
One of the trickiest issues that artists deal with is pricing their work. While there are some well-known, basic, and useful guidelines to follow, not all pricing situations are straightforward. Artists also encounter situations that may not have obvious answers—situations that are usually not addressed in basic art-business advice. When the situation is not clearcut, even experienced artists can find themselves feeling indecisive or worried they are charging too much or too little. Today we will talk about some of the pricing situations you may encounter that are challenging, and factors to consider when you run into them. Most of us are aware of the standard practices for most pricing situations, which are easily available online or from those who teach about art business. These include pricing in an objective way, perhaps by the square inch, rather than doing it subjectively, based on personal preferences. Consistency in pricing across the various platforms you use and galleries that represent you is also important, as is raising your prices over time in small increments. But overall, deciding about your prices can be challenging because financial decisions often come with emotional baggage. Your perception of how sales are going can challenge you to stay objective in both your practices and attitudes about pricing. Depending on outside validation for your sense of the worth of your work can either enhance or tear down your self-esteem as an artist, depending on whether things are going well. But since there will always be fluctuations in your sales, maintaining a practical approach to prices can keep you on track emotionally. While many sales situations are straightforward, others present difficult questions. These include selling to friends and family, establishing your policies for commissions, selling at open studio events, and deciding which geographic markets suit your own price points. Thinking ahead about these situations is helpful so you are not put on the spot and left to struggle to come up with the best reply. Anytime you can state a policy with assurance and clarity to a potential customer you build a little more self-esteem about your prices. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
The state of flow has been described as the mental state of being completely present and fully immersed in a task, and psychological studies have delved into what enhances this state and what types of personalities seem to be able to access it most easily, although how and why we enter this state remains rather mysterious. The experience of flow in the studio is one many artists crave as the source of ultimate joy and satisfaction in making art. But creative flow is elusive—it may appear without any conscious effort or disappear when you most want to rely on it. Today we talk about this state of mind, how to cultivate it, and the role it can play in your work. Being focused and fully with your work is crucial to the state of creative flow. Without distractions or extraneous thoughts, you are responding with sensitivity to how your work is developing. Flow also tends to lead us to work in ways that are sensual and tactile rather than intellectual, although you may take breaks for more analytic thinking. It has to do with sensitivity to the materials you are using and your own coordination and skill in using them. Although it's possible to enter a state of flow at any stage of your development, when your skill and your intentions are well matched, it is easier to find your creative flow. On the other hand, studies have shown that a certain level of challnge tends to enhance the flow experience. Having some intention for what you're working on can help channel your focus. Although this creative state is unlikely to happen because you strive for it, there are ways to encourage it. One idea is to let yourself be fully involved with whatever media you are using, enjoying the process in front of you. Another tip is to create plenty of work so that you can feel less precious about whatever you're working on. A playful attitude, enjoyment of what you are doing is a hallmark of the flow state. You may benefit from background music and setting up your studio situation to avoid distractions, When the flow state starts to break up, accept that you are leaving it for a while. Take satisfaction in having experienced it but don’t stress about losing it. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We’d like to begin today with some words from John O’Donohue, the Irish poet, author, priest, and philosopher--who wrote in his poem, For the Traveler: May you travel in an awakened way, Gathered wisely into your inner ground; That you may not waste the invitations Which wait along the way to transform you. May you travel safely, arrive refreshed, And live your time away to its fullest; Return home more enriched, and free To balance the gift of days which call you O’Donohue’s poem-- from which this excerpt is taken-- reflects on the impact of travel that is done in an aware and thoughtful manner. Taking part in an artist residency program is one way to experience a new place on this deep level and to experience its influence on your work. In today’s episode, Rebecca reflects on her recent 3 weeks of residency at the Obras Foundation in Portugal, and the challenges and rewards of this experience. We talked last week about the duality of familiarity and novelty that you can experience when working with the idea of place and in your response to unique aspects of an environment. There can be novelty in what is familiar, when you tune into your daily environment, and there can also be familiarity in what is new, as you seek out what you know and are comfortable with even in a completely foreign environment. When working in a truly new and unfamiliar place, it can be a challenge to find focus and continuity with your ongoing work. Allowing your responses to being on a residency to evolve organically in your ongoing work may be the best way to integrate your new experience. website for Obras Foundation: http://www.obras-art.org Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We’d like to begin today with some words from John O’Donohue, the Irish poet, author, priest, and philosopher--who wrote in his poem, For the Traveler: May you travel in an awakened way, Gathered wisely into your inner ground; That you may not waste the invitations Which wait along the way to transform you. May you travel safely, arrive refreshed, And live your time away to its fullest; Return home more enriched, and free To balance the gift of days which call you O’Donohue’s poem-- from which this excerpt is taken-- reflects on the impact of travel that is done in an aware and thoughtful manner. Taking part in an artist residency program is one way to experience a new place on this deep level and to experience its influence on your work. In today’s episode, Rebecca reflects on her recent 3 weeks of residency at the Obras Foundation in Portugal, and the challenges and rewards of this experience. We talked last week about the duality of familiarity and novelty that you can experience when working with the idea of place and in your response to unique aspects of an environment. There can be novelty in what is familiar, when you tune into your daily environment, and there can also be familiarity in what is new, as you seek out what you know and are comfortable with even in a completely foreign environment. When working in a truly new and unfamiliar place, it can be a challenge to find focus and continuity with your ongoing work. Allowing your responses to being on a residency to evolve organically in your ongoing work may be the best way to integrate your new experience. website for Obras Foundation: http://www.obras-art.org Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
The influence of specific locations on creative work is important among many kinds of artists, from plein aire painters to site-specific sculptors. On today’s podcast, Rebecca talks about the ways responding to certain places has impacted her own abstract work over the years, and specifically how this has evolved in recent years since her move to New Mexico. We hope that her thoughts invite contemplation of your own influences from both your home environment and your travels. Two aspects of place that influence abstract imagery are familiarity and novelty, an intriguing duality. Familiarity leads to visual language based on repeated observations, repeated experiences, and getting to know a place beyond initial impressions. Knowing a place deeply leads to an integrated approach of emotions and visual observations and can be a very satisfying way to experience your everyday life. Treating your home environment as a rich source of ideas enhances your everyday life and sense of gratitude. Although you can experience the aspect of novelty anywhere if you pay attention, including in your home territory, it plays into your work in a different way that can be very stimulating and can lead to ideas outside of your everyday realm. The sense of what you see and experience being unfamiliar and strange keeps you curious, reflective, and attentive. This happens especially during travel in other countries. You need special awareness to navigate this unfamiliar territory. Interpreting a sense of place in your work in a meaningful way can evolve over time, especially when you work from your home environment, as you engage in the process of noticing and understanding the subtleties of your home location. What you know and love about a place has a natural way of becoming embedded and central to your work. But even when responding to an unfamiliar place, connecting your experiences to what is already present in your work is a good way to approach it in an integrated manner. And if your current location is not supporting your work in ways that you want, if you are able seek out a different lcoation for travel, a residency, or even a new home, it is something to consider. (website mentioned in this podcast: resartis.org) Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
The influence of specific locations on creative work is important among many kinds of artists, from plein aire painters to site-specific sculptors. On today’s podcast, Rebecca talks about the ways responding to certain places has impacted her own abstract work over the years, and specifically how this has evolved in recent years since her move to New Mexico. We hope that her thoughts invite contemplation of your own influences from both your home environment and your travels. Two aspects of place that influence abstract imagery are familiarity and novelty, an intriguing duality. Familiarity leads to visual language based on repeated observations, repeated experiences, and getting to know a place beyond initial impressions. Knowing a place deeply leads to an integrated approach of emotions and visual observations and can be a very satisfying way to experience your everyday life. Treating your home environment as a rich source of ideas enhances your everyday life and sense of gratitude. Although you can experience the aspect of novelty anywhere if you pay attention, including in your home territory, it plays into your work in a different way that can be very stimulating and can lead to ideas outside of your everyday realm. The sense of what you see and experience being unfamiliar and strange keeps you curious, reflective, and attentive. This happens especially during travel in other countries. You need special awareness to navigate this unfamiliar territory. Interpreting a sense of place in your work in a meaningful way can evolve over time, especially when you work from your home environment, as you engage in the process of noticing and understanding the subtleties of your home location. What you know and love about a place has a natural way of becoming embedded and central to your work. But even when responding to an unfamiliar place, connecting your experiences to what is already present in your work is a good way to approach it in an integrated manner. And if your current location is not supporting your work in ways that you want, if you are able seek out a different lcoation for travel, a residency, or even a new home, it is something to consider. (website mentioned in this podcast: resartis.org) Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
For some artists, bringing meaning to their abstract work is hard because they lack ideas, or direction, or a true sense of connection to the work. But for others the problem is the opposite. They have so many thoughts, feelings, and references they want to work with that they become overwhelmed and frustrated. Today we want to talk about the value of focus in your ideas for abstract work, and what happens when your they are too complex and create blocks in your expression. Often, to bring personal meaning to abstraction people develop complex stories with a range of ideas they want to bring to the work. These references may be personal or may be broader world issues like climate change or war. Ideas are certainly important, but it takes focus to express meaning in abstraction. Working in abstraction is not a great approach for dictating how the work will be seen and interpreted. Anyone looking at your work will have their own interpretations; that is the nature of abstraction. It is the beauty and challenge of abstract work that it is not read like a story, but received as a complete impression, so it needs to work visually foremost. Your ideas are important as guides in choosing the aspects of form in your painting, in arriving at the composition, shapes, colors, lines, and textures. But realize that having too many ideas can negates the ability to create a strong visual statement. Like so much in art, limitations allow us to go deeper. A focused, simple idea is less likely to become too literal because it allows for an expansion of thought. When you try to pack in too much, your viewer has less room for involvement. Clear ideas on your part can act as excellent guides in your choices. But then you need to step back and let it be what it is to another person. This is a key attitude in working abstractly. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
For some artists, bringing meaning to their abstract work is hard because they lack ideas, or direction, or a true sense of connection to the work. But for others the problem is the opposite. They have so many thoughts, feelings, and references they want to work with that they become overwhelmed and frustrated. Today we want to talk about the value of focus in your ideas for abstract work, and what happens when your they are too complex and create blocks in your expression. Often, to bring personal meaning to abstraction people develop complex stories with a range of ideas they want to bring to the work. These references may be personal or may be broader world issues like climate change or war. Ideas are certainly important, but it takes focus to express meaning in abstraction. Working in abstraction is not a great approach for dictating how the work will be seen and interpreted. Anyone looking at your work will have their own interpretations; that is the nature of abstraction. It is the beauty and challenge of abstract work that it is not read like a story, but received as a complete impression, so it needs to work visually foremost. Your ideas are important as guides in choosing the aspects of form in your painting, in arriving at the composition, shapes, colors, lines, and textures. But realize that having too many ideas can negates the ability to create a strong visual statement. Like so much in art, limitations allow us to go deeper. A focused, simple idea is less likely to become too literal because it allows for an expansion of thought. When you try to pack in too much, your viewer has less room for involvement. Clear ideas on your part can act as excellent guides in your choices. But then you need to step back and let it be what it is to another person. This is a key attitude in working abstractly. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics such as photographing your art work and using Procreate. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Whether it’s your first exhibit or you are a veteran of many, an upcoming show of your work can take you on a wild ride of emotions and expectations. In anticipating the planning, production, and stress involved, you may even wonder, why bother? Yet for most artists, being able to show their work in a public space is important to their identity as artists. In today’s episode, we’ll look at the benefits and rewards of exhibiting and the role it plays in an art career, as well as some of the emotional and logistical challenges. Showing their work is vital to most artists because it completes the circle of communication, allowing others to receive and respond. Creating and exhibiting a body of your work is a significant event that allows your audience to have a complete and immersive experience of what you do. There are lots of logistical challenges that we covered in our previous episode (#223). But there are other, more inner issues to confront. For example, expectations for an immediate response and sales can fall flat. The opening reception often does not yield even a single sale since many people who attend regard it as mainly a social event. Especially if you are showing for the first time, it is important to understand that it may take a while for results. And even experienced artists may have exhibits that for one reason or another, fail to produce sales or leads. Exhibits typically last three weeks or more and the period while it is up can be stressful as you wait for news and wonder how things will evolve. And sometimes sales happen well after the show ends. So as with many aspects of an art career, patience is important, and if things do not go well, know that your art life will go on, and other opportunities will come along. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just announced their topics for Fall Quarter which begins October 12. With a special focus on member participation, they are planning a couple of new features--one will be online mentoring to help with issues in creative practices, and one session this quarter will be devoted to members tracking their painting progress over the past year. The quarterly member critique and a painting clinic for works in progress will also be featured, along with further information on professional development. You can sign up for one of two membership levels at any time, and catch up on the past two years of recorded weekly sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Whether it’s your first exhibit or you are a veteran of many, an upcoming show of your work can take you on a wild ride of emotions and expectations. In anticipating the planning, production, and stress involved, you may even wonder, why bother? Yet for most artists, being able to show their work in a public space is important to their identity as artists. In today’s episode, we’ll look at the benefits and rewards of exhibiting and the role it plays in an art career, as well as some of the emotional and logistical challenges. Showing their work is vital to most artists because it completes the circle of communication, allowing others to receive and respond. Creating and exhibiting a body of your work is a significant event that allows your audience to have a complete and immersive experience of what you do. There are lots of logistical challenges that we covered in our previous episode (#223). But there are other, more inner issues to confront. For example, expectations for an immediate response and sales can fall flat. The opening reception often does not yield even a single sale since many people who attend regard it as mainly a social event. Especially if you are showing for the first time, it is important to understand that it may take a while for results. And even experienced artists may have exhibits that for one reason or another, fail to produce sales or leads. Exhibits typically last three weeks or more and the period while it is up can be stressful as you wait for news and wonder how things will evolve. And sometimes sales happen well after the show ends. So as with many aspects of an art career, patience is important, and if things do not go well, know that your art life will go on, and other opportunities will come along. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just announced their topics for Fall Quarter which begins October 12. With a special focus on member participation, they are planning a couple of new features--one will be online mentoring to help with issues in creative practices, and one session this quarter will be devoted to members tracking their painting progress over the past year. The quarterly member critique and a painting clinic for works in progress will also be featured, along with further information on professional development. You can sign up for one of two membership levels at any time, and catch up on the past two years of recorded weekly sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Nothing energizes and motivates an artist like being offered an exhibit, especially one that involves showing a lot of pieces together. Even experienced artists with a history of exhibits feel excited by the opportunity, but also a little daunted by all the work and planning involved. For artists preparing for their first big exhibit, there is a lot to learn and figure out. Today we’ll go through some of the practical aspects of preparing for a show, based on Rebecca’s almost 40 years of experience with exhibiting her work--and in a future episode we’ll consider some of the other challenges involved with showing your work. There is much to consider in the complex process of mounting an exhibit, starting with deciding if you're ready to exhibit and whether it will be beneficial to you at this time, and how to approach a venue about providing you with the time and space to show your work. You may decide to apply to a non-commercial space like a community art center, or you may already be represented by a commercial gallery and request a slot on the roster of upcoming shows. In either case, preparing a body of work and checking off all the steps needed to make that happen takes considerable time and effort. Yet exhibiting your work is an important step in completing the cycle of creating art and providing the opportunity for an audience to see it. Beyond simply providing the work for a show, your responsibilities in mounting an exhibit also include framing, packing, and shipping or delivering the work, providing your own publicity, and providing such things as your artist statement, price list, photos of the work, and other information to support the show according to the venue's timeline. Consider whether you have the time and willingness to comply with all expectations, and ideally, give yourself at least six months to a year to prepare. A good tip is to prepare more work than you think you will need for the exhibit so that you can curate the best possible grouping. The amount of commitment needed for this process may seem daunting if you are just beginning this phase of your art career, but with experience it becomes more routine. But it is an important step. Maintaining an exhibition schedule is a mark of someone who is truly dedicated to their work, whether that is for the purpose of selling it or not. Exhibiting is a mark of your desire to share the work that you are proud of. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just announced their topics for Fall Quarter which begins October 12. With a special focus on member participation, they are planning a couple of new features--one will be online mentoring to help with issues in creative practices, and one session this quarter will be devoted to members tracking their painting progress over the past year. The quarterly member critique and a painting clinic for works in progress will also be featured, along with further information on professional development. You can sign up for one of two membership levels at any time, and catch up on the past two years of recorded weekly sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
When artists deal with the world outside their studios, they are often called upon to state their needs, assert their rights, and sometimes to confront unfair actions by galleries, organizers, or clients. Most of us don’t have agents or employees to handle these situations for us, and so we need to handle them on our own. To be effective, you need to be confident and straight-forward with the discussion. But instead, your personality may cause you to feel shy, socially awkward, or less than confident when you need to be self-assertive. Today’s episode is for those of you who struggle with confrontation and self-assertion in your dealings with the art world. Being self-assertive is complex for many people. You may fear coming across as someone who is belligerent or aggressive, but also recognize that standing up for yourself is necessary to avoid negative situations in which you are taken advantage of. But stating your needs or bringing up problems is not the same as attacking someone or inviting negative conflict. You can work on being more assertive when the situation is something that has built up, and you can anticipate the moment when you speak up. In those cases you can organize your thoughts, process the problem with a friend, or write out your main points. But other times you’re blindsided by remarks or actions and fail to react in the moment. In those cases, the best thing is to forgive yourself for not responding well and to learn what you can from it. This may happen more often as you become increasingly public with your work and deal in more complex ways with the gallery world and other business situations. Difficulty with self-assertion is a personality trait that is quite deeply ingrained and the reasons people have this problem is beyond the scope of our remarks. But not standing up for yourself can interfere with professional behavior and being able to move out of toxic situations. Understanding your own boundaries and developing ways of speaking that are clear and confident are strategies that are worth practicing. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just announced their topics for Fall Quarter which begins October 12. With a special focus on member participation, they are planning a couple of new features--one will be online mentoring to help with issues in creative practices, and one session this quarter will be devoted to members tracking their painting progress over the past year. The quarterly member critique and a painting clinic for works in progress will also be featured, along with further information on professional development. You can sign up for one of two membership levels at any time, and catch up on the past two years of recorded weekly sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Studio practice has noticeable ebbs and flows in terms of productivity, sales, exhibiting and marketing. There is also an energy flow that is less specific and harder to quantify that runs through our days in the studio. Sometimes our energy is strong, and we feel carried along by ideas and excitement, and other times we feel sluggish, lack ideas, and must push ourselves to even go to the studio. When we lose creative momentum, it’s hard to feel we’re doing our best work. What is creative momentum, and how can we create and sustain it? The official definition of momentum is in terms of physics and it is rather technical. In simple words, momentum has to do with the mass of an object that produces motion. If an object is moving, then an object has momentum, and something with a lot of momentum is hard to stop. In this case the word has a much more popular, non-technical use, and that's how we want to address it today. Creative momentum is the feeling of flow and energy in your work that keeps you excited, involved, and motivated in the studio. It's when you and your work are a positive force in motion. Creative momentum is affected by events in your life and creative cycle and recognizing what the reasons are when you find yourself losing it. If you're typically a person with energy and focus, when you lose that it can be distressing. But we all tend to return to what is normal for us and it is helpful to understand that this loss of momentum is temporary. You can also help maintain momentum by looking for the continuity in your work. When you realize that your work continues despite ups and downs it can provide optimism. Experiencing a break in your momentum is a very common--even inevitable--issue, with various causes, and unfortunately, it can easily lead to a general malaise and a period of self-criticism. But it is interesting to consider momentum in physics terms when this happens. Our episode today may help you think about energy, motion, and loss of motion in a more objective way, because while these are scientific principles, all of these can also be applied in some ways to an art practice. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have just announced their topics for Fall Quarter which begins October 12. With a special focus on member participation, they are planning a couple of new features--one will be online mentoring to help with issues in creative practices, and one session this quarter will be devoted to members tracking their painting progress over the past year. The quarterly member critique and a painting clinic for works in progress will also be featured, along with further information on professional development. You can sign up for one of two membership levels at any time, and catch up on the past two years of recorded weekly sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Beginning a work of art is a leap into the unknown. Facing a blank canvas or panel or sheet of drawing paper, a lump of clay, a block of wood, a freshly prepared litho stone, or the untouched material of any art form is exhilarating but also a bit intimidating. How do you approach starting new work? Do you feel the energy of a fresh start, or is there some worry about how things will go? How do you overcome resistance to starting something new? Today we will talk about the ups and downs in launching into new work. The beginning stages of your work challenges you with the question of "now what"? What, if anything, are you ready to change in your work? What urges and new ideas are you entertaining? These questions impact all people who are producing creative work, because we never rest long on past accomplishments. New beginnings are the part of the creative cycle that keep us moving forward. How you respond to beginning new work depends on where you are in that cycle. At different times, starting fresh work can affect you differently. If your ideas are flowing well, you probably are excited about the new work. The question of what’s next brings a positive, confident feeling. If you're struggling though, it’s time for some serious reflection about your work, and trying to pinpoint where the problems are coming from. Another difficult situation can be feeling self-imposed pressure if you're previous piece was very successful. You may worry about being able to reach that level again. Understanding that progress takes time and multiple stages in which you integrate new skills and ideas is important. Another situation that affects how you approach new work is when you have a commitment or event that you’re working toward. In that case, there is a bigger context because you will be thinking about creating work that will show well together or that fits a specific theme. While there are certainly difficulties or challenges with facing the metaphoric bank canvas, you can access positive aspects no matter where you are in the creative cycle. The fresh start, the sense of limitless possibilities is exciting, and there is a special energy when you have yet to make the first move on the new work. That is something to cultivate, to look forward to, and respect because every time you approach a new piece, you are showing commitment to your work, and a certain optimism that keeps you moving forward. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? As their summer programming comes to a close this month, Rebecca and Jerry are busy planning for their online sessions for Fall Quarter which begins October 5th. If you are already a member, please respond to the survey Jerry sent out asking for member input on what you'd like to learn more about or delve into more deeply in upcoming online sessions. As instructors, Rebecca and Jerry are always aiming to increase member participation and involvement--one of the many valuable aspects of Cold Wax Academy. If you're not a member yet, this is a great time to join, catch up on all past recordings, and enjoy their interactive online sessions. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
As artists and as creative entrepreneurs we all know the challenges of building confidence—in our own attitudes and in our encounters with people we want to engage with our work. To a large extent, we invent ourselves as we go along, developing a vision for our work and an audience to appreciate it. And often we tackle all of this without much emotional or practical support, and the times when we struggle have a way of depleting our confidence. Today we will talk about understanding the role of confidence in your work and in your business dealings. Self-confidence provides you with energy in the studio, optimism, motivation, and a positive mindset that can get you through the inevitable issues of a creative practice. It can also, unfortunately, be rather fragile if you don’t have a strong foundation of confidence. Confidence in your work itself is basic, and has to come first. With focus and diligence you may find confidence in the privacy of your studio more easily than in your more public dealings with marketing, galleries, exhibits, and so on. For some people, the latter situation may always be a challenge. But just as with the need to practice your art skills, practice in engaging with the outside world can also build confidence, and sometimes it's important to take opportunities that require you to go beyond what you think you can do. Confidence has its roots not in ego, but in a realistic and humble assessment of your own artistic development and goals. When you understand your own situation, your confidence can be maintained through inevitable failures and difficulties. Confidence can be built by taking action, building your skills, and committing to your studio practice. Making time for your work, finishing work, being patient and compassionate with yourself, and accepting cycles of more and less productivity all help grow your self-confidence. . There are no easy answers to finding and maintaining confidence in your work and in dealing with the art world—but it may help to know how common this problem is, even for people who seem to have it all in terms of recognition and success. Dealing with the outside world is easier if you have inner confidence but accepting challenges that feel uncomfortable is also a way of improving your confidence in a more public way over time. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Last week we talked about workshops from the point of view of artists taking them, what they look for, and how to make choices from the many options available. Today we want to talk about workshops from the perspective of workshop instructors. Many artists who have ideas and experience to share are drawn to workshop teaching. And teaching can be a very rewarding, interesting, and lucrative side job that fits well with an artist’s own studio practice. But it’s also a completely unregulated territory where success depends largely on personal reputation and endorsements, and where sometimes the best laid plans fall apart. What does it take to do well as a workshop instructor? What are some of the rewards of teaching workshops and what are some things to watch out for? For those of you who are thinking of getting started with teaching workshops, it's important to carefully consider your own qualifications. You need to evaluate honestly whether you have the experience about the topic, and whether you have something original to contribute to your students. And no matter how developed you are as an artist, you may not know much about teaching itself. So, you also need to learn what you can about effective teaching methods, respond to feedback from students, and constantly evaluate and tweak your approaches. There are many considerations for choosing what to teach, where to teach, the pay you want to receive, the number of students, and your own accommodations. And once you make these basic decisions, you need to be prepared with an accurate description of what you will teach, a detailed supply list, and if you are teaching outside your own studio, a list of what you would like the venue itself to provide. Teaching workshops can provide not only a decent income, but there are also intangible benefits. Experiencing the fresh energy and perspective of beginners, and the sharing of tips and tools that often happens spontaneously in class, and hearing people's ideas and motivations is uniquely rewarding. Going into teaching sometimes begins as a casual, gradual process among people you know, but once you are fully in you need to take its responsibilities seriously. Are you really serving your students in the best ways you can? Are you continually evaluating and revising your teaching agenda? You need to provide something important for your students and exhibit a basically generous and altruistic attitude. At the same time, it is also important to be treated well, and be well compensated for your time, experience, and dedication. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Workshops serve many purposes for artists, including learning new skills and information, connecting with other artists, and receiving feedback and critique. A workshop with the right instructor at the right time can provide an important breakthrough for your work. But attending a workshop can also be challenging on a personal level, involving travel, a commitment of time and money, and working in a group environment. And not all workshops are well organized or worthwhile. Today we will be talking about workshops from the perspective of artists who have taken them--what was gained, and what difficulties were encountered. Taking a workshop is a big commitment of time and expense, so a basic question in deciding to take a workshop is to consider your reasons and motivation and if they are strong enough to take that leap. A desire for growth, development, and improving your work are all essential. Without these, you probably won't get enough out of the experience to be worthwhile. The opportunity for focused studio time or the desire to learn something very specific or work with a particular instructor also factor in. With the range of options for workshops available, it can be hard to decide what to take, or if you want to take one at all. Important factors to consider range from finding a competent and inspiring instructor to deciding how much travel and expense you can afford. Venues can be anything from a crowded private studio to a purpose-built, fully equipped classroom. The class may last only half a day or a week or more. You may be in a class with others at the same level of development as you, or you may be combined with people at very different levels. Social aspects of being in a group can be supportive and exciting. You can gain new friends and enjoy the sense of community that surrounds you. But sometimes being with a group can be challenging. To work outside your own studio and to be exposed to everyone else's work styles and personalities is not easy for everyone. Many artists report things like a shift in perspective, a new confidence, excitement, insights, new ideas, or even bigger changes after a workshop. These are all the reasons to take workshops and are more likely to happen if you are careful about your choice, research the instructor and the venue, and at the same time go into with a flexible attitude, you cannot know or control all the variables when participating in a group activity. There are an incredible number of variables in workshop world. But overall, the number of artists who take at least one workshop a year speaks to the overall positive aspects of this type of learning, Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
In every field of work, there are some interactions that are professional and some that can be more personal, and the lines between them are not always clear. How casual, how revealing, how personal can you be while keeping a businesslike and professional attitude? In an art career, this issue impacts your interactions in many ways—in talking with dealers and collectors, when you give talks and interviews, in setting the tone of your website, and any time you are meeting the public. Today we’ll talk about the boundaries between personal and professional situations in an art career. Self-promotion is an important area in which personal and professional may collide. We are often advised in marketing art to be personal, to tell our story, to let our audience into our private lives to some extent. At the same time, setting boundaries around what we choose to reveal and be open about can provide a comfort level for both our audience and ourselves. Treating professionalism as your default mode is preferable in almost any situation in which you are presenting yourself to the public. Specific situations in which crafting a professional image include making posts on social media, creating your website, and in your relationships with galleries. For some people, feeling a little insecure and wanting to make a good impression can lead to over-sharing, while others with similar fears back away from revealing anything personal that could help others understand their work. Understanding the audience you are aiming to attract is important, especially if you are hoping to engage with galleries, curators, and collectors who have high professional standards. We do need to be ourselves in interacting with people interested in our work, which after all is personal, and where our ideas come from are impoirtant. But in public contexts erring on the side of being more formal, more reserved, and more dignified is a good strategy. If you are showing your work, selling your work, you need to have a bit of remove from the work, an objectivity, and that is best expressed by knowing the boundaries around professional behavior. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Situations in which we feel unsure, insecure, and vulnerable are a common experience for many of us. As an artist, that feeling of vulnerability may come with exhibiting your work, promoting yourself, explaining what you do, and even when you're alone in the studio making art. Today we will share some thoughts about what it means to be vulnerable as an artist. Is vulnerability something to avoid --or tolerate-- or even embrace? What can you learn from situations in which you feel vulnerable? Feeling emotionally vulnerable means feeling uncomfortable, exposed, or having your feelings open to attack or damage. It applies to situations in which you acknowledge your shortcomings and insecurities, and when you fear that someone else is seeing them too. It can also mean that you are speaking your truth to skeptical people who don't know anything about art. Vulnerability can happen anytime you are not putting up defenses around your true self, either because you can’t just then because you are taken off guard, or you choose not to. Your art is extremely personal and in the best case it is also authentic and honest in representing your true self. Being open and vulnerable in that way can lead to valuable feedback or meaningful discussions, and iit allows you to seem approachable. But other times you may find you have exposed yourself to an emotional attack that serves no real purpose, and these situations should be avoidedif possible. For example, you can control who comes into your studio or refuse to defend your work to someone who is hostile to art. Finding ways cope with vulnerability is important in negotiating an art career. If you constantly avoid the risk of exposing yourself, you may miss opportunities. At the same time, taking risks that may make you uncomfortable can end up being positive. For example, being vulnerable to your own feelings about your work can help you undertand how to proceed. Other aspects of vulnerability are negative--they can stall you or distress you in ways that are not productive, and you need to set boundaries to preserve your dignity and sense of worth. Learning to distinguish these different kinds of vulnerability can be tricky, but ultimately give you more confidence in your career. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Creative work involves a myriad of emotions. In a single day in the studio, an artist can cycle through excitement, frustration, despair, relief, pleasure, and hope. Sending a finished piece into the world can bring on anxiety and feelings of vulnerability, along with more positive emotions like anticipation and satisfaction. Emotional involvement comes with the territory of our work-- but we do need to stay on track, focus, and show up in the studio. Today we’ll talk about coping with the tangle of emotions that can challenge artists and other creative people. Emotional involvement in your work is part of the territory of creativity. Positive emotions help us stay motivated, experience satisfaction, and feel connected ot our work. These positive feelings are evidence of our passion for our work. Without them our process can feel flat, boring, rote, and mechanical. But along with more negative feelings, the range of emotions connected to your work can be exhausting and confusing and get in the way of productivity. Feelings of fear, inadequacy, and pessimism can be very discouraging. These are generally rooted in your personality, and if so, you also face them in other areas of life. But as an artist you do have a path to working through them. The process of making art or engaging in other kinds of creativity is a way of feeding and nurturing positive feelings. Art and other creative endeavors teach us so much about ourselves--about trust, patience, and persistence. Just by engaging in your work, by overcoming the challenges that it presents, there can be a shift over time in attitude and how you cope with negative emotions. We all differ in how intensely we experience the emotions connected with creative work, and this can shift over time if it is intense, as you better recognize how to cope with ups and downs and understand their role in your life. Art can become your steady anchor no matter what kinds of emotional upheavels you may experience. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
For many of us in the art world, making art is only part of what we do. The other big role most of us play, that of businessperson, can be one that comes less naturally. Many artists resist getting involved with art as a business, seeing it as something that dilutes creativity and true voice. At the same time, most of us get a lot of satisfaction from exhibiting our work and would like to be able to make a living doing what we really love, and it is gratifying to provide something that enriches the lives of fellow humans. Can we learn to see the business aspects of art in a more positive light, and bring to our art business the same skills we use in the studio? Today Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin discuss the exciting possibilities of integrating art and entrepreneurial ventures. As artists we have passion, commitment, focus, the willingness to take risks, and ability to make decisions and move forward with projects. All these qualities can also help us create income streams as related to our core identity as artists. As a term, entrepreneur may be more appealing than businessperson because we may associate the idea of business with something restrictive or overly structured. Entrepreneurship, on the other hand, implies a more creative and expansive focus and can include other people on an informal basis as well as more formal collaboration. Examples of entrepreneurial ventures for artists include writing, teaching, mentoring, developing products and materials for artists, creating studio/living spaces for artists, licensing artwork in various ways, working with the film industry or real estate staging, and starting a small gallery. None of these need to be entirely separate from your life as a studio artist. Though they do require commitment and focus, they can also help you grow creatively as well as providing income. Our advice is to welcome the idea that other ways of generating income can be exciting and rewarding and can play a very positive role in your creative life. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production. Special Guest: Jerry McLaughlin.
When an artist creates, the people that the artist images viewing the work often are unseen presences in the studio. When we are deeply involved in our work these may fade away, but they tend to reappear when we are uncertain or involved in self-critique. A legitimate and important part of evaluating our work is trying to see the work through someone else’s eyes. But who are these viewers, exactly? Who are we creating art for, besides ourselves? Today we talk about those who view our work, how we imagine them and how much power to give them. Most artists say they do their work primarily for themselves, that it is a compulsion or inner drive, and that they work the way they do because it feels right to them. Whether or not others like what they do may seem secondary. But a basic aspect of art is communication. We want to give our viewers something to respond to, to get involved with, and to bring out some thought or emotion, and perhaps respond enough to own the work. From the artist’s perspective, working alone in the studio, this communication can seem very one-sided. We don't have an actual person with us to be another set of eyes, even though we are aware that people will eventually be in that position when we show the work. As a result, we often create viewers in the studio who are imaginary. And as such they tend to be an inconsitent, vague conglomerate with shifting opinions and advice. The best advice has always been to make your best art for yourself and If it is good work, it will attract viewers who appreciate it. Thinking of it first as your own expression means that your work will be meaningful and authentic to you. But given that it's hard to avoid thinking of imaginary viewers as you work, it's also helpful to form a positive image of who they are. And rather than letting this be only a vague idea, it is helpful to get specific about the characteristics of your ideal, imaginary viewer. This viewer may be quite similar to yourself, but also enough removed to be able to offer constructive advice. Many of us deal with invisible presences in the studio, and at times they are confusing in what we imagine them saying. And as with many aspects of the creative process, awareness of how you are affected is key. When our imaginary friends and critics are not useful, we need to be careful not to give them too much power. Inviting your imaginary ideal viewer into your studio can provide guidance, inspiration, and truly constructive criticism. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information. Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Abstract art --especially the kind that has no identifiable imagery-- may appear to have little meaning to the viewer beyond its purely visual appeal. Certainly, we can admire and respond to abstraction without needing a story or an explanation, as long as our eyes are intrigued or delighted, and that is an important way it can be appreciated. But in fact, ideas, emotions, and other points of reference lie behind even the most purely abstract work. Today we will consider the ideas that compel abstract artists and guide them in their work. While a painting can never be fully explained, and can definitely be over-analyzed, understanding the general realm of ideas that lie behind an abstract work adds to your experience as a viewer. In reading artist statements and biographies, we can see that their sources of ideas in abstraction can be surprisingly specific and autobiographical. The process of interpreting ideas, images, emotions, information, and memories in visual language is challenging and requires a balance of intuition and intellect. Abstract painting requires abstract thinking for both the artist and the viewer. Avoiding literal or illustrational approaches when working from specific ideas means being open-ended, flexible, and treating specific references more as jumping off points than as something you insist the viewer take from your work. There is a huge component of interpretation in all types of abstraction, and an abstract artist needs to allow guidance from ideas but without a need to dictate how others respond to the work. Finding and expressing meaning in your work, however you create it, is key to having passion and involvement in the studio. For abstract artists there are special challenges in interpreting their ideas, and for viewers it means entering a world without labels and strict definition. A very different kind of conversation happens outside the realm of easily identifiable imagery. Intuition and imagination are important to both seeing and appreciating abstraction. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy planning the Summer Quarter of their membership program which begins on July 13. These exciting sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Today we are excited to welcome Seattle-based artist, author, and educator Jason Matias back to the Messy Studio. We published the first part of this interview back in January, which focused on Jason's approach to the business side of art. We recorded a second interview that same day so that he could tell us more about his own art, and what it takes to make his striking photographs of the natural world. We are excited to share this second interview with you today. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy planning the Summer Quarter of their membership program which begins on July 13. These exciting sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production. Special Guest: Jason Matias.
Abstract artists are known for getting ideas for their work everywhere. If you notice someone taking a photo of a crack in the sidewalk or staring at a piece of rusted metal, chances are good that’s an abstract artist at work, collecting ideas for lines and colors and textures. Even if we don’t depict objects realistically in our work, we are constantly observing the world around us. Today we are talking about the process of gathering and using visual ideas in creating abstract art. What do we mean by a visual idea in abstraction? It starts with observing something and then using that visual information in your work—not in the sense of literally reproducing it, as you might with realism, but translated into aspects of your abstract work. A visual idea can be thought of as a distillation of something you have observed that enters your abstract work in a way that is removed from its source. Visual ideas can spark imagination and serve as a point of departure into new ways of using techniques, composition, and the visual elements. Many times, we take in visual information in an unconscious way, gazing at things without mush awareness or analysis or focus, and sometimes these images do come through as we work intuitively. But to use a visual idea consciously, it helps to observe consciously. In abstraction, visual ideas can be taken from any situation you are in—whenever something strikes us as visually interesting, if we have the time and focus to and intention to really examine it. You are most likely already working with visual ideas if you are observant of the visual world. But it can be interesting to become more conscious or analytic about what you are staring at, at least every so often, and seeing what changes that may bring to your work. Nurturing visual ideas so that they grow their original source or in seeing how they appear in your work and that of others can be exciting and deeply creative. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy planning the Summer Quarter of their membership program which begins on July 13. These exciting sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Being productive in the studio means different things to each artist--but wanting to grow and achieve new levels in our work is basic to the creative process. Yet there are many practices and attitudes that work against productivity, causing frustration and creative blocks, and wasting valuable studio time. Today we will talk about some of these counterproductive situations and how to challenge them in your own studio practice. If we consider that the definition of counterproductive is “tending to hinder the attainment of a desired goal” it makes sense to try to get a sense of what your own goals are for productivity. For example, some people work consistently for a certain number of days a week, while others are fine working in shorter spans of time that are available to them. Having a good sense of your own goals for productivity helps you recognize any habits that work against that. Counterproductive habits include procrastination, wanting the studio to be in perfect order, or failing to finish work. Overthinking is another major issue for many people, inhibiting their decision-making process, and getting in the way of intuitive flow in the studio. An interesting perspective on these habits is that you don't have to be the same person in the studio as you are in the rest of life. By making your studio a refuge, separate from the rest of life, you may be able to shed personal counterproductive habits. When you walk into the studio, if you can leave the rest of life behind, shutting out the demands of normal life, you may find that you can better maintain your focus and do what feels exciting and right to you. Anything that hinders your creative flow can be frustrating and slow your overall development. If art is a big part of your life, it makes sense to challenge attitudes and behaviors as they relate to what you do in the studio. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. Right now Michael Harding Artist Oils are 25% off, and Blick disposable palette pads are also marked down! www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy planning the Summer Quarter of their membership program which begins on July 13. These exciting sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon! Here is what a member named Sandy has to say about her own experience with Cold Wax Academy: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Many of our listeners to this podcast are in their older years, and the rest of us can only hope to find ourselves there one day. Aging brings with it many challenges—these are as specific and diverse as our own personalities and yet as common as anything else shared by millions of people. While physical abilities and stamina may decline for older artists, aging can also contribute to creative work in positive ways. Many artists have the drive to keep going despite physical limitations because art is so central to their lives. They adapt to issues like fatigue, aches and pains, the need to be conscious of posture, or coping with sensitivity to the physical aspects or materials of studio work. Repetitive motions required by the art process and lifting and carrying heavy, awkward objects can be problematic. But there are many very positive and healthy aspects to making art late in life that include not only the great satisfaction of creativity itself, but that support brain health and other aspects of aging well. These include the mental flexibility required to create, a sense of purpose that is part of a commitment to a studio practice, and the personal connections with other artists in the creative community. Artists often tend to connect across generations and other social barriers, recognizing what they have in common and learning from one another. Art transcends many of the emotional problems of aging in ways that can balance out the more difficult aspects of aging. It is a way of connecting with the reality of the experience of aging. It can help us rise above a potentially negative situation, that of our bodies becoming slower, more painful, and restricted--and to express the more profound and beautiful aspects of a long life. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. Right now Gamblin Gamsol Odorless Mineral Spirits are 25% off, and Blick disposable palette pads and artist tape are also marked down! www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Our Spring Quarter membership program is well underway with lots of information about working with Form and Content, and tips about Professional Development for artists at all stages of their careers. We are now looking ahead to our Summer session which begins on July 13. We're excited to be focusing on Personal Voice and Composition and we'll also be hosting some special guests to share more information about Professional Development. Member Critiques and Paintings Clinics, our new feature, are ongoing. You can join anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We are really happy to be bringing this podcast episode to you this week, the first one after a long hiatus due to a very difficult situation in Ross's personal life. Today we’ll be talking about how the past few months have gone for us and offering some thoughts about how reconnecting with your creative practice is a solid and healthy step toward getting your life back on track. Since late January, Ross has devoted all his time and energy to caring for his wife Kara during a long, difficult illness as well as caring for his newborn son, and he was unable to focus on anything outside of this. Like so many people who have had to deal with illness, family losses, job losses, and other challenges especially during the pandemic, he found it hard enough to cope with daily life, let alone do anything creative for self-fulfillment. In today's podcast we talk about these difficult situations and the importance of connecting again with your creative self. Some suggestions for getting back on track in the aftermath include finding a way to fit your creative practice into a schedule, being patient with the time it may take to regroup, and finding it within yourself to commit to your practice again. Your creative work is so essential to your own strength and self-image that its important to not let that slip away completely. There are many ways that negativity can impede getting back to creative work, though. We can get so used to living with ongoing difficulties and trauma that it is a huge emotional step to lose that outlook and move into a more positive future. Financial issues can also add to the overall pressure of the situation, especially if your income depends on your creative work. Everyone and every situation is different. But the core idea here is commitment to your creative work. You can weather so much if you hold to the idea that in time, you will get back to doing what you love. Art has great power to heal and to sustain us in hard times. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. Right now Gamblin Gamsol Odorless Mineral Spirits are 25% off, and Blick disposable palette pads and artist tape are also marked down! www.messystudiopodcast.com/blick Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Our audience is incredibly supportive, and we feel we owe you an explanation for our recent absence. It isn't fair to leave you completely out of the loop. Thank you for your continued support during this difficult time. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have an exciting Winter Quarter planned with a focus on working with cold wax medium using both abstract and realistic approaches. Members will enjoy opportunities to participate in portfolio reviews and critiques, and of course, engage with the ongoing weekly live sessions that explore featured topics in depth. Cold Wax Academy is the only online teaching platform devoted exclusively to deepening and developing your painting practice in every aspect. Lessons are centered on the range of uses for cold wax medium, but also include important insights and information about all other aspects of art practice. For information about joining this vibrant, international community of artists, and to learn more about cold wax medium, please visit http://www.coldwaxacademy.com As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Winter Quarter begins January 5th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Today we are excited to welcome Jason Mathias to the Messy Studio. Jason is an experienced professional artist, an author, and an educator, who lives in a loft in the woods outside Seattle, Washington. Following seven years of military service, Jason pursued a bachelor's degree in business and a master's in organizational leadership and began to apply what he learned to his passion for photography. These days, in addition to his creating his own artwork, Jason runs the online teaching platform The Art of Selling Art, a membership site that teaches business skills, strategies, and practical approaches to the business side of art practice. His aim is to demystify the art world so that artists can sell more art. We're going to find out much more about what he has to offer other artists in today's episode. Listeners who are struggling with pricing their work will find his comments on identifying and pricing to a target audience especially helpful. Jason offers other advice about remaining objective in marketing your work, and not allowing self-esteem issues, or other self-defeating habits and perceptions to interfere with your success. This interview is available as both audio and video on our Facebook page. Jason's website; https://www.jasonmatias.com/the-art-of-selling-art/home Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have an exciting Winter Quarter planned with a focus on working with cold wax medium using both abstract and realistic approaches. Members will enjoy opportunities to participate in portfolio reviews and critiques, and of course, engage with the ongoing weekly live sessions that explore featured topics in depth. Cold Wax Academy is the only online teaching platform devoted exclusively to deepening and developing your painting practice in every aspect. Lessons are centered on the range of uses for cold wax medium, but also include important insights and information about all other aspects of art practice. For information about joining this vibrant, international community of artists, and to learn more about cold wax medium, please visit http://www.coldwaxacademy.com As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Winter Quarter begins January 5th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production. Special Guest: Jason Matias.
The New Year is a traditional time to reflect on the past, set goals for the future, contemplate your current situation, and identify ways to move forward. Even if you are not someone who makes formal New Years' resolutions, most of us feel an underlying urge to take stock of what we’d like to improve upon or work toward in the coming year. Today we’ll talk about evaluating how things are going in the studio and in your art business, and what role your goals and insights may play in 2022. Goals or intentions tend to fall into two categories that evoke quite different emotions and involve different approaches to reach--things that are problematic and need to be improved, and things that are basically positive and exciting. The first category-- issues and situations that you know you need to work on---can make you anxious and self-critical if you fail to improve. This can lead to a self-defeating loop if you believe you really are not capable of doing better. Instead, realizing what you've accomplished in the past to make progress on these issues, along with small steps you can take to move forward can be helpful. The other type of goal involves ideas and plans that are exciting, that will help you grow and develop as an artist. These tend to feel energizing and motivating and are the heart of a dynamic art practice. Yet these ideas can also be easily neglected if we don't take them seriously. and implement steps to make them happen. Consider what projects you have abandoned despite your initial interest. What threads in your current work could be pursued in more depth if you give them time and focus? Is it the year for a workshop, artist residency, or a collaborative project? Are there ways you can improve your time management or studio set up to facilitate some new projects? We all have things we can work on going forward, whether or not we take the New year as that opportunity. As much as anything this is a good time to consider your individual approach to setting and reaching goals, how it works best for you to make changes, in addition to any changes themselves. It is easy to fall into an all or nothing approach with goals and intentions and then feel discouraged and frustrated if you fall short. A middle way in which you accept some change even if you don't entirely succeed can keep you on track and moving forward. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have an exciting Winter Quarter planned with a focus on working with cold wax medium using both abstract and realistic approaches. Members will enjoy opportunities to participate in portfolio reviews and critiques, and of course, engage with the ongoing weekly live sessions that explore featured topics in depth. Cold Wax Academy is the only online teaching platform devoted exclusively to deepening and developing your painting practice in every aspect. Lessons are centered on the range of uses for cold wax medium, but also include important insights and information about all other aspects of art practice. For information about joining this vibrant, international community of artists, and to learn more about cold wax medium, please visit http://www.coldwaxacademy.com As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Winter Quarter begins January 5th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We talk a lot on the podcast about the importance of thinking about your work—of identifying intentions, strategies for developing your ideas, describing your work, researching other artists, and practicing self-critique. All of these are important, but we never want to neglect the more intuitive side of an art practice. So much of what we do is the result of hunches, impulses, and flashes of insight. And the bottom line is that as visual artists, whatever we do needs more than intellectual underpinnings. Today we will talk about the balance of thinking and overthinking when it comes to making art. Our intellectual function is very different from intuitive response. It's necessary to a point, and there is much to understand about art theory and practice that can enhance your work. But we need to remember that if we are visual artists the primary impact of what we do is visual, despite current trends in conceptual art. After all, we aren’t writing essays, arguing political points, or presenting purely intellectual ideas. The visual impact on our senses, emotions, or thoughts has a very long history in art as its most important function and is basically nonverbal. Overthinking also can become a problem when we are actually making our work. To be open to intutive responses is especially important during the process of creating, when our productive flow is vulnerable to being interrupted by overthinking. How do we find some kind of balance of trusting our vision and impulses without second guessing and becoming stalled by too much thinking and analyzing? Finding a rhythm of thinking and doing that works for you is key. Many artists work in a basically intuitive manner for the majority of a studio session, but pause periodically to step back and consider what is working and being expressed. Deeper thinking and intellectualizing may work best in those moments when find a natural point of separation—that is, before a session, afterward, or completely away from the studio. Taking time to play and experiment is also important and as much a component your work as anything more planned or time consuming. As with many topics about art that we present on the podcast, overthinking is not as easy to avoid as it might seem. We do need a degree of thought and analysis sand finding a balance is a very individualized process. And we also need to accept and celebrate that much visual art is purely or predominantly visual in its impact. If your own work is not based in conceptual concerns, there is no need to make it seem so in how you describe it. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry have an exciting Winter Quarter planned with a focus on working with cold wax medium using both abstract and realistic approaches. Members will enjoy opportunities to participate in portfolio reviews and critiques, and of course, engage with the ongoing weekly live sessions that explore featured topics in depth. Cold Wax Academy is the only online teaching platform devoted exclusively to deepening and developing your painting practice in every aspect. Lessons are centered on the range of uses for cold wax medium, but also include important insights and information about all other aspects of art practice. For information about joining this vibrant, international community of artists, and to learn more about cold wax medium, please visit http://www.coldwaxacademy.com As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Winter Quarter begins January 5th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Many of us enjoy social media as a convenient way to share our art with others, for the sense of community it offers, and the easy way it lets us keep up with people we seldom see in person. But artists who are not enthusiastic about social media can feel pressured into participating because of the benefits it offers, yet squeamish and awkward when they do. Today we’ll talk about the role of social media in art practice and how to find a comfort level with participating if you’ve been avoiding it. Most artists have many friends who are much more like followers because this is how we tend to connect with an artist we like. Even though many artists have professional pages on Facebook, we don’t always think first of following them there when we are interested in an artist's work. Sending a friend request seems to be the default mode to connect. As a result, your artist page, if you have one, may not really be getting nearly as much traffic as your personal page where you may have thousands of people listed as friends. Our session today emphasizes the idea that you can consciously use social media to enhance your image as an artist. It is probably wise to exclude anything that may weaken the impact of your artwork. In fact it may discourage people to connect with you if they find your posts either uninteresting, too revealing, or in some way off-putting. ideally, you don't want to post things to your thousands of friends --many of whom are followers rather than personal connections--that will conflict with your image as a serious and focused artist. Crafting a social media personal to emphasize your work is not presenting a false impression if what you do say is authentic. It's fine to keep large parts of your life private and when you do that, you allow your work to take center stage. It also relieves you rown anxiety about maintaining privacy. How to navigate the world of social media is a personal decision, and there are plenty of opinions about how to do this. But in terms of enhancing your presence as an artist, consider that is may be best to treat it as a useful tool rather than a platform for a wide variety of topics. You can do a great deal to enhance your professional image of an interesting and thoughtful artist by being conscious of what you post as visible to everyone, especially if you have a lot of followers you don’t know as perosnal friends. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We have reached a milestone here at the Messy Studio that we are excited to report. We recently surpassed half a million total downloads of our episodes, which we first published in late December 2017. This week also marks our 200th episode, and we are also coming up on our 4th year anniversary as well. We’re proud of our podcast and grateful to our many listeners, and to celebrate we decided to talk today about the podcast itself—how it got started, how it has grown, and the challenges and rewards of this project. We began with the simple idea of an art-related podcast that would be a conversation between the two of us and would also branch out into the other areas included in our tagline: "travel, entrepreneurship, philosophy, and life in general." We wanted to put our focus on art but allow for other topics that would come up as we talked, or sometimes to allow those to take the main spotlight. We've covered many topics having to do with art business, content about finding your way as an artist, bringing meaning to your work and general attitudes for healthy living. While we've interviewed fascinating guests in various fields our main intention has always been to express our own thoughts about these topics. Here are some facts and figures about our listener demographics: On a consistent basis, about a quarter to a third of our 2500 regular listeners tune in from countries other than the US. These come mostly from the United Kingdom, Canada, Australia, and Ireland but there are almost 40 thousand listeners grouped as an unspecified “other “category. Our most downloaded episode to date has over 8000 downloads. This is Episode #13, Diving into Abstraction. The topic of abstraction has always generated noticeable interest; we have discussed it in many episodes and featured it in about ten. Another very popular topic has been any topic relating to art business. Other very popular episodes have covered elements that help make strong works of art and engage an artist in growing and learning. The Messy Studio is an exciting collaboration that we love doing together. It gives us the opportunity for in-depth conversation every week with each other and to our listeners. We’ve both learned a lot in the process and have benefitted from talking about many topics in a deep way. Knowing that so many of you are listening, connecting, and hopefully taking some ideas away with you and into your studio and life in general is very rewarding. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
As children, we all explored constantly—the world was new and we needed to try things out, push boundaries, and make discoveries in order to grow. Most of the time we were totally absorbed in these activities and found them enjoyable. Artists in their beginning phases often show a similar attitude—they are willing and eager to explore, play, and experiment in an open-ended way with few expectations. But once artistic maturity sets in we tend to settle into more predictable practices and may lose the urge to explore. There are important benefits to finding your groove and sticking with it, but how can we keep an inventive and adventurous spirit alive at the same time? Achieving artistic maturity is a goal for many of us, reaching a point when we have something to say and the ability to say it well. It means having an authentic voice and consistent work. Yet staying open to change and engaging in experimentation and adventures into new media and subject matter are important to keeping our work fresh and exciting, and avoiding rigidity. These explorations are entirely legitimate ways to spend time and resources. Trying new things takes acceptance that you may not always produce anything worth saving. It also takes self-confidence that others will appreciate and follow your adventures, and that your voice will continue to come through even with change. There can be a wide range of expression that comes from your core self. Countering the tendency to stick to the tried and true may take the form of attending an artist residency or workshop, travel, or simply setting time or place aside in your own studio for this practice. So, let’s avoid being stodgy and unadventurous in reaching artistic maturity. Attitudes of play, experimentation, and non-attachment remain important to your work even as you mature. While focus and intentions are essential to doing deep work, adventure and childlike enjoyment are also aspects of mature work. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
Many of us live lives based on habit and predictability--we aim for expected results, and generally avoid uncertainty and disruption. But our guest today, Laurie Rosenwald, challenges us to steer away from the tried and true in order to bring freshness and spontaneity to our lives and work. Laurie is a New York City-based illustrator, artist, designer, and book creator whose work is a mix of collage, drawing, painting, and storytelling. In addition to her many editorial illustrations for a wide variety of publications, Laurie has created animation, product design, and leads an ongoing workshop, "How to Make Mistakes on Purpose." Laurie talks about her unconventional life and what led her into her current work with encouraging people to open up to random occurences and unplanned situations. She believes in surprise and in taking people out of their expected outcomes and fear of being judged. Join us for a fun interview, which will be available as video also on our facebook page. Check out her stuff at: https://rosenworld.com https://www.instagram.com/rosenworld/?hl=en https://societyillustrators.org/event/make-mistakes/?fbclid=IwAR0yVygsI866CpDnfbDam9gA5sRaCXRqEVqLCke7Y6hdsrbwGSaAgNH2Zuo Buy her book: https://www.amazon.com/How-Make-Mistakes-Purpose-Bring-ebook/dp/B08YCY93YP Attend her workshop (I misread this link in the episode): https://societyillustrators.org/event/make-mistakes Black Friday/ Weekend Offers: Also, there is a Black Friday special offer available at Cold Wax Academy, now through Sunday. You can get a free Starter Kit with the purchase of a Full Membership, or half off the price of a Starter Kit for becoming a Core member. That Starter Kit is normally $399, so this is an incredible value and a great way to begin your membership with all the supplies you need on hand. www.coldwaxacademy.com If you are doing your Black Friday/ Cyber Monday shopping at Blick then please remember to use our affiliate link so that they will donate 10% of your purchase to the show. www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production. Special Guest: Laurie Rosenwald.
When we think of the kinds of reactions to our work from other people that cause a block in creative flow, most people think first of negativity, indifference, or misunderstanding. All of these can undermine our self-confidence and cause us to feel incompetent, uninteresting, or simply off track. They can lead to anxiety and avoidance behavior towards our work. But what about the opposite—positive remarks of praise and admiration? These can create a blockage of a different kind that may be harder to recognize and acknowledge. Today we talk about the rather odd fact that praise can stall us as much as criticism. Praise can certainly feel supportive and energizing, helping you see aspects of your work that were hidden from your own eyes and clarifying your ideas when you successfully communicate with another person through your work. And of course, praise brings about general good feelings relating to recognition and a sense of accomplishment. But receiving praise can also be a complicated dynamic, with the potential to stall us in our progress in ways that may be hard to recognize and acknowledge. The basic issue is that art is subjective; although there are standards of good composition and design, and good use of media and visual elements, opinion also plays a big role when someone offers you feedback. When what you hear is positive, it can be harder to recognize its subjectivity. You may be steered towards aspects of your work that aren’t quite right for your own vision, but which the person viewing your work prefers. This often happens in a classroom or workshop situation, meaning that those who teach need to be careful not to shut down students by only praising work of a certain type. But the detrimental effects of praise can also be a dynamic among friends and family. Many people find a role for themselves in advising and influencing others even when they know little about the subject. Their positive comments may be well meaning but be somewhat manipulative or controlling, in effect asking the artist to create according to their own preferences. You as the artist need to be strong enough in your own mind to recognize whether praise is truly applicable to your own intentions, and resist being steered in a direction that is not. Learning to evaluate the feedback you receive allows you to gain from positive feedback that relates to your own intentions and to remove yourself from comments that are off track. Failing to do this can lead to losing your way or being blocked by inner resistance to fulfilling someone else’s desires for your work. Being self-reflective and in touch with your own ideas and intentions is key to understanding positive feedback and pulling from it what is useful and supportive to you. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
At some point in their art careers, many artists are offered the opportunity to take part in an open studios event or art tour in their communities. These events can be lucrative and exciting --and provide many new contacts to help spread the word about your work. They also entail a lot of preparation and time taken away from normal studio life ---and several intensive days of meeting the public and handling all the details of selling work directly during the event. Today we take an inside look at this experience and consider the pros and cons of participating in an open studio or art tour in your own community. Although many times these events are very positive experiences, there are legitimate reasons you may hesitate. You may view your studio as a private sanctuary and not open to the public for any reason. Or you may not be comfortable selling your own work, or you may simply not anticipate an appreciative audience of your type of work in your area, and dread having to explain what you do. The physical accessibility of your studio and the preparation and time commitment involved during opening hours are also considerations. You may also want to be sure that there are other artists on the tour who you regard as peers, who have a similar approach in terms of pricing and professionalism. On the other hand, in evaluating whether to join a studio tour or open studios event, there are some positive signs that may persuade you to say yes. It is very helpful if there is a density of artists in your area, and if the event is locally well known and well established. As for your own work, it is good to have work at various price points so that people who are not prepared to buy larger work can find a piece that works for them. It is also good if you can line up some help for the event, maybe someone to participate in the set up or direct traffic, or just be on call if you need something during the event. Your attitude during the event is important. While it's fine to have expectations to keep you motivated, realize that you will have many people who are simply checking out your work or enjoying seeing your studio and are not there to purchase. That is fine, and you never know what might unfold later as the result of people having had a good experience. It's important to greet everyone, answer questions, and show a friendly attitude. A studio tour can be a very successful event, provide connections, and help in your involvement with the art community where you live. On the other hand, it’s not a good idea to join just because you feel it is expected by other people—there is too much of your time and energy at stake. Deciding whether to participate means considering the pros and cons for your situation, but once you decide to join, a wholehearted attitude will bring the best rewards. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
The behind-the-scenes aspect of almost any job is surprising, and that of a working, professional artist is no exception. So much goes on that has little if anything to do with making art. Maintaining a studio, tracking inventory and expenses, photographing work, keeping up a website, engaging with social media, answering email, staying in touch with galleries, and handling countless other details of art practice—all of these tasks are time-consuming, and each requires its own skillset. Most artists do all of this on their own without assistance, learning as they go, and over time they find what works for them. Today we look at the frustrations and rewards for artists as they constantly change out their many hats. Considering the range of tasks we deal with as artists, it's natural that most of us are deficient in some areas, whether those are record-keeping, organizing, being active on social media, creating a website, consistent gallery correspondence or other tasks. While it may appear that other artists are on top of every aspect of their practice, few conquer all tasks and at the same time make good art without having help. To be realistic we need to let go of perfectionistic tendencies and accept a standard of "good enough" for some of the demands on our time. We can also delegate tasks to others if they can be outsourced, although many cannot. Sometimes we do have to face things that need to be done by ourselves, but with which we have no experience or background. In those times, a positive attitude about learning new things is helpful. You may surprise yourself with newfound abilities --for example being able to handle new technologies or teach your first workshop. Asking for advice from a friend with experience is a good first step when faced with a new situation that requires action. As artists our main role is to make art, and that is the most important hat to wear, always. The rest of the demands on our time that support our art practice need to be dealt with as best we can. When feeling overwhelmed by tasks and things to do, a good way to shift out of stress is to go and do your art, even for a little while. It will remind you of what you love about the life of an artist. The rest of it is simply what needs to be done to support this opportunity. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
A year ago, Rebecca and her teaching partner and co-author, Jerry McLaughlin embarked on a new project to meet the needs of artists during the time of Covid. With in-person workshops canceled, they turned to online teaching as a way to continue to offer instruction to artists interested in using cold wax medium and oils. Faced with this challenge of offering deep learning in a new format, Rebecca and Jerry developed a structured curriculum of online sessions for a worldwide audience of artists. Cold Wax Academy has evolved to be the leading online resource for mastery of both technical and artistic skills required for painting with cold wax medium. Online teaching offers its own rewards and challenges, and Jerry and Rebecca reflect on its many aspects in this episode. Content for online sessions is prepared ahead of time with very specific focus, allowing for an in-depth exploration of various topics. Learning takes place in concise pieces of information, with time in between to process. When combined with actual workshop experience the impact of both foms of learning is especially noticeable. With so many artists involved in online teaching and learning as a result of the pandemic, the advantages of online learning are becoming increasingly evident and to be involved in this new format is exciting. Cold Wax Academy membership provides deep, structured learning from two experienced, professional artists in the context of a supportive online community. If this sounds right for you, please visit www.coldwaxacademy.com. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production. Special Guest: Jerry McLaughlin.
It can seem sometimes like artists and art lovers fall into two camps—those that adamantly prefer abstraction, and those who feel the same way about realism. Of course, this is a very simplistic view of art --and the fact is that these two approaches meet and mingle in countless unique ways. But it can be demoralizing for an abstract artist to be dismissed out of hand as lacking seriousness and skill, and the same for the realist who may be criticized for lacking imagination or unique vision. In fact, all artists who have gained mastery at what they do have something to teach others. Thinking of abstraction and realism as a simple duality is misleading; it is more useful to think of various ways of depiction as a continuum, with extremely realistic work at once end and completely nonrepresentational, pure abstraction at the other end. The line in between filled with various departures from either extreme, and any kind of art is an interpretation, and there are always limitations to the medium an artist uses. While each way of working has its strengths, too often abstract artists don't consider or exploit the depth and nuances that can be observed in the real world and that realist artists are by necessity very aware of. These can bring more intricacy and complexity to abstract approaches. Realist painters learn skills such as creating visual texture through subtle shifts of value and color, and to edit their work carefully to create good composition that are applicable to abstract work as well. On the other hand, realism may also include approaches that do not interest abstract artists such as depiction of deep space and perspective, and there are interests that are unique to abstraction such as a focus on materiality and visual elements for their own sakes. So, while there are distinct differences, it's worth paying attention to how these various approaches overlap. All forms of art have more in common than they do differences, and it can be very beneficial to understand other approaches to the visual world. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
How do abstract artists focus on specific ideas in their work? How can personal voice be discovered and followed given the endless possibilities of abstraction? Today we will talk about one path that has proven to be a rich vein of ideas for many abstract artists—that of pulling from their own experiences in life to create a meaningful, personal visual language. Today we’ll talk about ways to access ideas for abstraction from what you know best, your own life. Many artists, especially beginners with abstraction, tend to be a bit disconnected from personal expression in their work. Maybe it's because they believe that abstraction is always about lofty concepts bigger than any individual, or maybe they consider abstraction to be mainly an intellectual /conceptual exercise, or that it is mainly about process and technique. All these approaches are satisfying to many abstract artists., but others want a more personal or emotional connection to their work. if you haven't considered your own experiences, situations, and emotions as pathways to this connection, it may be because you worry that this is too self-involved or somehow self-centered. But there is wisdom in the idea that the more personal a subject is the more universal its potential. Your interpretation of your own experiences can strike a chord with others and thus be more widely meaningful. Work based on your own life and experiences is perfectly valid and is a long tradition in art. Discovering personal sources for your work is challenging. It requires self-awareness and observation of what moves you and what abstract elements you connect with your experiences. Specific memories of moments and emotions connected with them are most potent, and journaling and sketching can deepen your awareness of these and help you focus. There is no formula for working abstractly from your own experience, it is by nature individualized and personal. But to realize that your own life is legit subject matter and worthy of your attention is liberating. So go ahead, express your own experiences, be quirky, be open, be a little mysterious, mine your own memories, and feelings. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
We named our podcast The Messy Studio for a reason that goes beyond the physical working space. We also mean to imply that the creative process itself is rarely neat or clearly defined. It is more often confusing and convoluted. This aspect of creativity can be frustrating, but it’s necessary each time we find a new path in our work. Today we talk about the importance of the messy stages of creativity and how clarity can be achieved as we move forward. One of our listeners, Max McConkey, recently commented that the stages of a painting can be compared to stages of life, and that some parts of the life cycle are a bit wild and chaotic leading up to a mature painting. Using this analogy, its clear to see that each stage of growth is important and necessary for resolving each work of art. The messier stages can be frustrating though and tempt you to reach for the easiest solution possible. But in doing that you may miss some new ideas and solutions that could be gained by working with the mess you have rather than giving up on it. On the other hand, it can be a trap to spend endless time making small tweaks and changes that aren't making any real difference. The real mess in the piece may be a larger issue, like the color palette or composition, or wanting your medium to do something that it isn't made for, and to see bigger issues you probably need to walk away for a break and return with fresh eyes. There are times when a fresh start is the best move but take a little time to identify what has gone wrong. The creative process is rarely straightforward and linear, even though we somehow seem to expect it to be. Maybe it is human nature to think it should be easier than it is. But inside, most of know that our work would never grow and change if we never had to power through messes, chaos, frustration. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
A couple of weeks ago-- during our first episode after the break that we took for moving this summer--we talked a little about the emotional side of letting so much go from our former lives. This seems to have struck a chord with listeners—we received quite a few comments about the experience of moving, its difficulties, and the anxieties it creates. A need to shed possessions of any sort is a challenge, but to let go of very personal objects like works of art is especially difficult. Today we’ll focus on Rebecca’s experiences of clearing out her studio and some thoughts about letting go in general. Using the three categories that are common for decluttering of keep, sell or give away, and discard is a very helpful approach. At first the task of moving a studio can seem overwhelming, but like a lot of things, this focused approach gets easier with practice. Over the eight weeks it took Rebecca to move it became easier to make decisions based on these categories. Selling work is a great solution if you can pull it off but may take a dedicated stretch of time and quite a bit of organization ahead of time to be successful. Donating and giving art away is another way to reduce the amount of inventory prior to a move and can be very gratifying. Looking for venues to donate art to that will display it publicly, like a hospital, can be especially satisfying. And of course, in terms of getting rid of art, discarding it is the most challenging emotionally, but it can also feel freeing. Keeping artwork when you move can make sense for special pieces that you want to keep, or anything you see potential for selling in the future. But it's always important to consider storage strategies in the new studio. The emotional aspects of letting go are clearly part of the process. as a whole. Along with a sense of loss can come feelings of lightness, clarity, and relief in going forward with more simplicity. In this episode, Rebecca shares many stories of her own experience of moving, in the hopes of offering ideas and hope for others in the same situation. Everyone’s experience of moving is different but there are also lots of similarities. No matter your own situation, it's important to acknowledge that it is a big upheaval in your life, and you need to take things step by step with faith that it will work out, and to appreciate the rewards that will come. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production.
James Edward Scherbarth was a dear friend, colleague, and teacher, and artist who developed profound and personal ways of working in just a few years following his retirement in his mid-60s. Today we share our interview with Jim near the end of his life in which he discusses his life, work, and teaching philosophy. Jim passed away a few days aftert this recording, on June 22, 2021. We are very honored to have had this opportunity to hear what he wished to share with our listeners. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up their Summer Quarter and have announced their lineup of topics for both the Fall Quarter and into 2022. Their weekly live, interactive sessions this Fall will focus on Techniques and Processes involved in developing a painting and on expanding ways of using cold wax in such areas as printmaking and photography. All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a Tick Digital Media Production. Special Guest: Jim Scherbarth.
Those of you who follow the Messy Studio know that we have taken time off this summer because each of us was involved in a major move from the family home in Wisconsin. The process of moving is no fun, as anyone who has done it knows—it’s hard work physically and emotionally and there is plenty of stress. But now that we are each settled in we’re happy to be back with producing the podcast. Today we join you with thoughts about changing situations and what Rebecca has been seeing in her current work in the studio as a result. Moving is often included in lists of stressful life events, and even a move for positive reasons is exhausting. While it is freeing and cathartic to let go of possesions it can also be accompanied by feeling of loss and awareness of aging and the passage of time. What was involved in moving from a home and studio occupied for decades was far more involved that we could have imagined at the beginning, and once the project was underway there was nothing to do but give it total focus. Today's episode is a casual chat about the experience of moving that many of our listeners who have moved or plan to move will relate to. We are happy to be back to podcasting now and have some exiciting episodes in the work for the months ahead. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up their Summer Quarter and have announced their lineup of topics for both the Fall Quarter and into 2022. Their weekly live, interactive sessions this Fall will focus on Techniques and Processes involved in developing a painting and on expanding ways of using cold wax in such areas as printmaking and photography. All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
As artists --engaged for the most part in fairly traditional and long-established ways of working—it may be hard to understand or embrace new technologies. Yet artists have always been involved in revolutionary advances in culture and technology. Today we will discuss some technologies that have liberating potential for artists. In a bit of role reversal, our guest today is Ross Ticknor, and his focus is on the uses of 3-D printing for artists. New technologies are always evolving and gradually becoming accepted and expected aspects of our lives. Many of us remember the time before microwaves, cell phones, and personal computers. Each of these no longer seems radical or difficult to integrate into daily life. It’s helpful to be open to learning about new ideas that can benefit us as artists, and not shy away because they are unfamiliar. A few years from now, cryptocurrency and 3-D printing, to name two examples, will likely be commonplace in our lives. These technologies have the benefit of empowering individuals in that they allow us the freedom to depart from current systems of banking and corporate production and exercise more control over our personal lives in these ways. As artists, how can we explore the benefits of 3-D printing? The equipment and materials are relatively inexpensive, and there are many designs (including a mini-printing press) that are free online. Once you become familiar with the technology, you might also explore making custom studio tools, texture rollers, storage units, or even sculpture with a 3-D printer. As cultural influencers, artists can help to shape the use of new technologies in our society in positive ways. Those of us who get involved in the early stages of a technology reap the most benefits. websites referenced in this podcast: https://www.thingiverse.com https://openpressproject.com Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin have wrapped up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Artists are always given the good advice to be productive as they can, to make lots of work, to go to the studio nearly every day. That’s because only by doing a lot of work can you really progress and explore your full potential. Yet the results of all that creative output will inevitably pile up in the studio and in your home, leading to storage problems and other more personal issues. Today we will talk about the challenges of dealing with the accumulation of your own artwork. Few of us are able to sell or give away everything we do as we go, if we are at all productive or have been making art for any length of time. We all have different amounts of storage and wall space so for some people it is easy to hang onto things if they have room. Yet for all of us the day will come when we want or need to downsize our past work-- if only to make it easier for others to deal with it when we no longer can. This is an emotional and demanding task. But athough it is often tedious, there are also some pleasurable aspects to reviewing your work over the years and choosing the best pieces to keep. Some of this work may end up in your own collection, and some may be offered for sale or given as donations or gifts. While selling or gifting may sound easy, the reality can be complicated. What is the best way to run a sale of your work? Do you need to take your local gallery into consideration? Can you find a place for a donation where the work will be on public view? The mediocre work, bad work, or repetietive work that you cull is also challenge to dispose of. Some artists choose a ritual buring, others brace themselves to fill a dumpster. Probably the best strategy is to avoid massive accumulations of work in the first place by purging your stacks periodically. PS: if you are interested in the older work that Rebecca is offering for sale from her own studio/moving sale, please visit https://www.artworkarchive.com/profile/rebecca-crowell Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick A new quarter is underway at Cold wax Academy, the online learning program developed by Rebecca and her partner Jerry McLaughlin. This summer, the weekly online sessions focus on Mark-making, Setting and Following Intentions, and Composition. All sessions are recorded so that you can learn at your own pace, and there are supplementary assignments and other opportunities to participate. Join Rebecca, Jerry, and current members to take part in this exciting international community of artists. Please visit http://www.coldwaxacademy.com to sign up and start taking advantage of all that Cold wax Academy has to offer its members. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
We interview Jason Horejs of Xanadu Gallery and RedDotBlog.com on the best way to market yourself and your work to galleries. This interview was conducted using Streamyard and went out live on Facebook. Once again we aren't able to produce the highest quality audio right now due to the move, but we still want to put out some great content. This is one of the most valuable interviews we have ever done, so don't skip it! Thanks again to all of the well wishes from listeners pertaining to the move and recent announcment that Ross's wife is pregnant. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin have wrapped up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production. Special Guest: Jason Horejs.
This is the audio recording of our very first Ask Me Anything on Facebook Live. We opened up the session to listeners who had questions and chatted about the challenges of moving. Rebecca also talked a little about her background as an artist, and we touched on returning to normal life post-Covid including travel), and simplifying and downsizing. We hope to do more session slike this in the future as a way to get to know our listeners and engage in an interactive way. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin have wrapped up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Words that we say and the words we remember being said to us can have impact that goes far beyond the moment in which they are spoken. For better or for worse many of us remember things said to us decades ago, And we have all said things that have lodged in other people’s minds in an equally powerful way—and most of the time we don’t even realize that has happened. While we may say and receive words that are meant to have an impact, other times it is a casual remark that looms large in retrospect. Today we look at the ways we are influenced and can influence others with our words, including how words can affect our creative selves and others. Words that impact our personal lives, both positively and negatively, play in role in our lives as artists. They can help us feel self-confident, which helps us to be focused and committed, or they can undermine these important aspects of our creativity. Those of us engaged in teaching, writing, mentoring, and in other ways consciously directing others have a huge responsibility in choosing words carefully. That responsibility can feel heavy, since you cannot know how someone else may react to things you say. You may touch on someone's insecurities without any intention of upsetting the person. Young people or those new to art may be especially vulnerable and liable to misinterpret things you say. Yet by worrying about responses and treading too lightly you can miss great opportunities for communication. Words spoken from experience, with good intentions, can be extremely helpful to other artists. We all need to take responsibility for our own reactions to what others say that sound to us critical or negative and to realize that we can choose what to credit and what to brush off. We can also try harder to say the right things that will encourage rather than discourage other people and be more conscious of expressing empathy and appreciation. There is no way to always say the right thing at the right time, but we can treasure the positive words given to us and attempt to give more of those to others. Thanks to everyone who has been sharing the show and donating, and special thanks to Mary J Kelly for her donation! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Anyone who cares about the work they perform wants to have that work appreciated and respected. And while certain professions and high-level positions can elicit that respect almost automatically, people in many other fields have to build that regard from others over time. They need to constantly reinforce respect for what they do-- and most importantly, feel it within themselves in order to create it. Those in creative fields may have special challenges in building respect in a society that tends to look at what they do as unimportant, a hobby or sideline, or something they do simply to please themselves. Or their work may be regarded for its commercial or decorative value only. Today we’ll take a look at the ways artists and other creative people struggle to establish respect in the circles in which they move. Unfortunately, stereotypes about artists are often not favorable. We may be thought of as self-indulgent, irresponsible, arrogant, and perhaps not fully contributing members of society. So, situations in which artists are disrespected, not taken seriously, or valued for their contributions are common. Self-respect is key to identifying and –ideally--reacting constructively to such situations. Dealing with situations that involve disrespect can be difficult, especially for personality types that prefer to avoid conflict and let things slide. Lack of experience can also enter in, as disrespectful situations can develop because you are not sure what is expected or acceptable. For example, the first time you are in a gallery show or the first time you are asked to teach a workshop you may be asked to do things that are out of line with standard practice. But because for you it is unknown territory, you may accept them as the way things are done. Most of us, no matter our level of experience or ability to handle conflict, have boundaries that tell us when to object or walk away. It’s important to become aware of when those boundaries are challenged and rely on our inner sense of self-respect to respond. Be alert for manipulation and unreasonable expectations from others that concern your art practice, and practice stating your needs and limits. You can certainly decide to live with some situations that are less than perfect, but that choice should include clear benefits for yourself that you judge to balance the equation. It’s a difficult reality that we all run into disrespectful situations, and our personalities have everything to do with how we handle them. For many of us, letting things slide works for a while. But a situation that creates an ongoing sense of disrespect needs to be addressed. OPur work and self-respect are top priorities. Thanks to everyone who has been sharing the show and donating, and special thanks to Mary J Kelly for her donation! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Self-respect is one of the central ingredients for a healthy mindset yet can be one of the hardest to achieve. As artists, we may lose our grip on it when encountering the larger art world. Or lack of self-respect may interfere with our art practice itself, keeping us from dedicating time and resources to our work, or behaving in ways that undermine our success. Is your self-respect as an artist firmly in place or does it waver or fade in some situations? Today we’ll talk about ways to build and maintain your self-respect inside and outside the studio. In a recent podcast we talked about the passion that underlies so much of what we do as artists and as entrepreneurs, and how that keeps us going even when we have times when the rest of the world does not seem to care about what we do. Part of passion is the respect we feel intrinsically for what we do; in some basic way we know how important it is and honor that. We need strong self-respect in order to put ourselves out there, keep us engaged, help us overcome obstacles, and also to recognize situations in which we are not being respected. Many people struggle to respect their own creative passion as the result of life circumstances, such as not being supported in their interest as a young person, or the need to have a good income early in life. If you don't have a good base of self-respect as an artist, or lifelong engagement with your creative side, how can you build up this key ingredient in growing your work and art career? This means placing priority on your studio time, buying yourself quality supplies and equipment, finding a supportive art community, and engaging with high level instruction or mentorship. It also helps to acknowledge realistically where you are as an artist. In may seem counter-intuitive but being humble as a beginner enhances self-respect, and in fact it may be crucial for getting through the initial learning phases and avoiding feeling like an imposter. In the same vein, learning to limit your interactions about your work with people who don't take you seriously is important, as is avoiding comparison with others who are further along with their work. No matter when or under what circumstances you have started your creative practice, respecting its place in your life is crucial to growing into yourself as an artist. We are the gatekeepers who protect that practice and honor its importance, and if we don't do that, we can't expect anyone else to do so. Thanks to everyone who has been sharing the show and donating, and special thanks to Mary J Kelly for her donation! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
One of the challenges of your art practice is being able to evaluate your finished work in terms of what is excellent and what is just good or all right. Many of us want to be able to identify our best work and also to accept nothing less than this for ourselves. But do we have to push everything we do to this highest standard? Can we allow some things to be less than our best and move on? And are we really able to be objective in evaluating our own work anyway? This is not about giving up on something that is a learning experience and the struggles you are encountering are likely to lead you into new territory. Here we are talking about your overall output and recognizing that not everything you produce is at the same level. It’s also about acknowledging that some work has already arrived at the place where it has little more to reveal. You may feel dissatisfied with a piece because it feels repetitive, or you are somehow not connecting with it in a personal way. That feeling is something to accept when it happens occasionally, although it can be a red flag if it happens very often, signaling that it’s time for a change. But if by all objective standards you can call the work finished and very good, it’s fine to send it out into the world. It’s easy to become so perfectionistic that we deprive others of seeing work that they may respond to very positively. You can think of your own standards as a ladder—the top rung is the work that you objectively believe to be excellent and also love for your own reasons, and the next rung down is still very good if it checks all the boxes for objective self-critique and you may --or may not-- love it on a subjective level. Work on either rung should be considered worthy of being seen by other people. Thanks to everyone who has been sharing the show and donating, and special thanks to Phyllis Bryce for her donation! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work. But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists. Here is what a member named Sandy has to say about her own experience: "Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed." And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
It’s an all-too familiar situation in the studio, coping with a work of art that seems to fight against you at every step, making each day with it a struggle. It’s so easy to become obsessed with a piece like this, trying to persuade it to cooperate, just as you might with a stubborn person. It can feel like an exhausting contest of wills, made all the more frustrating by your awareness that you are actually fighting with yourself. Today we’re going to talk about those pieces that make you want to tear out your hair or throw them out the window -window. Because we all know that feeling, right? Although lots of times our work flows well, and our frustrations are fairly fleeting, other times we experience the opposite. Your work can anger and upset us and feel as though it has its own negative persona. The fact that it is actually your own creation can make it a metaphor for all the ways you think you fall short as an artist. This can lead to a downward spiral in which you beat yourself up for not being able to make the thing work. And from that state of mind, it is also harder to calm down and see your way forward. How can you break loose from the negative grip of frustrating work? If you can avoid getting wound up emotionally I the first place, trust that the work is challenging for a reason and that you have something to learn, that is certainly the healthiest attitude. It may help to know that experiencing a high level of frustration is very common among creative people and is actually necessary to growth. But if your frustration feels unbearable, there are a few simple strategies. One is to retreat, walk away, and give yourself some time and space to be able to come back with a fresh eye. If you can gain some distance, you may be able to go over your work with an objective attitude and see what isn’t working and why. The problem with this approach alone is that it can lead to endless small changes and tweaks, without much real progress. So, it may also be time to make a bold, major change in the work. The best move may be to wipe out the previous path you were on with the work and allow for a fresh start. No matter how you choose to deal it riding out the cycle of frustration and resolution is part of the creative cycle. If your work never presents strong challenges, you are probably stuck in a rut of easy answers and rote solutions. The next time you’re ready to stick a palette knife through your canvas, remember that all creative people experience these feelings and that they do eventually open the way to new ideas and growth. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity. As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Passion is a vital ingredient to staying motivated and focused on our creative work. It helps us find our own direction and voice and keeps us going even under hard personal circumstances or times when the outside world is failing to provide validation. Passion is a source of creative energy that sustains and revitalizes us. But is creative passion something we just have as an innate part of our personality? Or can it be nurtured and developed if we lack it? Today we talk about creative passion, and how to nurture and honor its role in our lives as artists. How do you know if you have passion? It is something you feel deeply, because it is rooted in emotional intensity. It is a source of creative energy that provides consistent motivation, and a way into a flow state in your work. Passion also provides you with self-respect and confidence for ourselves as artists, and when we respect the role of art in our lives, we tend to demand that from others around us. Working from this kind of passion provides a loop of positive feedback for your work, which sustains you during times of struggle. However, many artists may worry about a lack of passion for their work. But like many things, passion is something that can be nurtured and developed rather than something you either have or you don’t. It starts with commitment, practice, and building confidence. It also involves recognizing any inner issues that are holding back your full engagement with your art practice. Your medium and approach needs to be a good fit, and you need to be as free as you can from other people's expectations and pressures to perform. Negative self-talk can also block passion that is actually there for you under the surface. Another consideration is to seek out support and encouragement for your passion and avoid people who may want to tamp down your enthusiasm. Passion can seem like something that you simply have, or you don’t, but even people that have it probably did not start out that way. Passion for your work can grow just like any other aspect of your character when given the right conditions and attention. If you do feel passion, never dismiss it, honor its role in your life and expect the same from the people around you. . Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity. As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Since the beginning of time, artists have told stories with their work. Sometimes the messages are straightforward and other times open to interpretation. Stories can be told with recognizable imagery, with symbols, and even with purely abstract elements. At the heart of telling stories is our desire to communicate and the human love of narrative. Do you think of your work as telling stories? In today’s discussions, we hope to open your mind to the narrative aspects of your work and perhaps enable you to mine your stories for new ideas. Throughout art history, storytelling has been a primary function of art, using stories from religion, history, and the legends of various cultures. We also find many personal stories, relating to individual artist's experiences. Considering visual expression as stories that record your life, your feelings and thoughts may be a new way of thinking especially in abstraction. But what is a story in its essence? It's something that takes us away from ordinary thoughts and perceptions, shifts our viewpoint, and transports us in some way. This magic happens visually as well as verbally, and for the artist as well as the viewer. Although visual stories may not follow the conventions of plot development and narrative arc that we find in written or verbal stories, there are similarities, including the dynamic of conflict and resolution. As artists, we manipulate the visual elements on a journey that involves both contrast and harmony A useful term in thinking about this aspect of abstraction is "abstract narrative." Thinking about your own abstract work as a narrative may help you to have patience and trust as it unfolds, much as a novelist allows characters to develop and find a voice. We can say things visually that go beyond words, but being conscious of your sources of ideas, the stories you want to tell, can strengthen your work. Stories bring meaning to any kind of art but in abstraction this perspective can help you find a voice and personal direction, because we all have stories to tell. Thanks to everyone who has been sharing the show and donating, and especially to Jennifer Smith for her monthly donation! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity. As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Artists often worry that their work is derivative of another artist’s work and may be very concerned about being overly influenced by someone else’s style or technique. This problem certainly does exist in the art world and is something to guard against because most of us do want our work to be original and unique. But in every field of endeavor, people build on and respond to the work of others, and this is no different for artists. Today we talk about building on, rather than appropriating, other people’s ideas. Being authentic in our work doesn’t negate influences of all sorts, because we are never creating in a void. Yet if you’re told your work closely resembles like that of a friend, a teacher, or well-known artist you admire, it can be inhibiting or embarrassing. A strong resemblance can happen unconsciously especially early on when you are finding your own voice, and most of the time it’s a phase that passes as you find your own way. But it is a struggle many artists go through and they may feel inadequate or insecure as they work through that time. With all the influences artists experience, how can we produce work that is truly innovative and individual? Art history highlights times when new ideas appeared, such as perspective in the Renaissance, the rejection of realism in Modernism, or the embrace of cultural icons in pop art, and we may easily feel that there is nothing left to discover. But while a few individuals stood at the forefront of these movements, many others took also took part, sharing ideas and approaches, and advancing the overarching ideas that were being explored. For most of us, individuality in our work comes not from inventing totally new approaches, but from integrating and synthesizing ideas from various sources. Working with visual ideas rather than mimicking the look or style of another artist is key to this process. This means going beyond the superficial appearance of other people's work into a more conceptual realm. It means being a fellow traveler with others as you explore ideas in art together. Every artist works with visual ideas having to do with the visual elements, design principles, and subject matter and in that sense similarities are inevitable. But there are infinite variations in synthesizing visual ideas in unique ways, that are the basis of personal voice and direction. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity. As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
The artist’s life is challenging in ways that go beyond producing strong work, as difficult as that may be. An art practice also makes huge demands of us on a personal and emotional level. Although we love what we do, all of us sometimes feel overwhelmed by these demands, which include the need for constant self-examination, brutal honesty, and being willing to push through difficulties. Yet we know that these challenges come with the territory and are the path to true personal expression. Today we will focus on the challenge and rewards of being authentic and honest with ourselves in our studio practice. Authenticity as a person means being genuine, willing to show your whole self, not just parts of it. It also means that although you are willing to listen to other people, you are not overly eager to adapt to what others advise or demand unless it feels right to you. But as artists we are subject to various pressures from our teachers, galleries, collectors, friends and loved ones. Our own inner voices can also add to unrealistic or negative input. How can you separate these distracting influences from who you are authentically? How can you work in genuine way and not be overly influenced by other people? Do you ever take the easy path in your work because it is what will please others? Finding and honoring our authentic voice is one of the biggest challenges for an artist, and one that requires honesty and commitment. But art also gives us a way to claim our own territory and push back at all aspects of our lives that aren’t genuine. It is a great teacher about our true selves. Authenticity may be hard won and take time to achieve but finding and holding to it in some measure is crucial to honest and confident self-expression. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity. As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Did you know there was a well-known artist whose studio was so impressive for its mess that the entire place was reproduced piece by piece in a museum after his death? We are talking about British painter Francis Bacon, famous for his expressionistic figurative work, and whose reproduced studio is permanently housed in a museum in Dublin, Ireland. Today we’re going to look at the story of his studio chaos –and offer words of encouragement for those whose studios may not be famous, but perhaps almost as messy as Francis Bacon’s. It's easy to think that unless your studio is well-organized, with everything at your fingertips, that you are somehow deficient as an artist. We are often advised to respect our materials and tools and to have systems for storage and keeping things neat and tidy. That may be good advice, but if that isn't the way you work, don't stress. Francis Bacon was regarded in his day as England's foremost figurative painter, yet he worked at the height of his career in a small, chaotic studio up a steep flight of steps despite his fame and wealth. At his death it contained over 7,000 items crammed into boxes, stacked against the walls, and covering the floor. These included--besides over 2000 items for painting such as paint tubes and brushes--some 1500 photographs, 100 slashed canvases, countless notes, books on a wide range of topics, piles of rags, empty paint cans and other debris. It was astonishlingly messy, yet it was what he preferred, How do we know the details of what was in his studio? Bacon's studio was so impressive in its chaos that a few years after he died, it was thoroughly documented and excavated by a team of archaeologists and art conservators and reconstructed in its exact original condition at Dublin's Hugh Lane Gallery. Director Barbara Dawson took a huge risk in undertaking this project, which many saw as a worthless effort. But she was fascinated by Bacon's working conditions and was correct about the huge. interest this exhibit would generate for the museum. Is there any lesson in this for us as artists in our own studios? Bacon's mess leads to questions about our own studios and their relationship to our creative processes. If everything is neat and organized, are you cutting off a channel to creative, free associations and juxtapositions? In any case, the story of one of the most respected figurative artists of the 20th century may give you some permission to me as messy as you like… Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick What's new at Cold Wax Academy? Rebecca and Jerry are busy preparing new presentations for their Spring Quarter weekly live, interactive sessions. The topics for Spring are Shape, Scale and Proportion, and Self-Coaching to improve your work habits and productivity. As always, there will be plenty of opportunities to interact with Rebecca, Jerry, and other members, along with critique sessions, feedback about your paintings, and of course a deep dive into the three selected topics of the quarter. Cold Wax Academy has been receiving lots of rave reviews from its members; they know it is the best online learning for cold wax painting available and the only membership program dedicated to this medium. Find out more at www.coldwaxacademy.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
There probably are a lot of artists who are able to keep accurate, up to date records of their inventory, sales, expenses, materials, and contacts. They have systems that are efficient and neat, and any information they need about their art careers can be easily retrieved from a file. Then there are those who fail miserably at organization, and whose records--if they exist--are in total confusion. A question about the location of a certain painting, or the need to put together images of work for a presentation is cause for panic. Are you somewhere in between these extremes, or do you identify with one or the other? Today we take an honest look at the challenges of recordkeeping for artists. Rebecca and Ross fully admit that their own record-keeping needs improvement and offer a few tips along with recognizing their downfalls. The first step is noting what is not working. Where the cracks appear is where data can, and probably will, fall through. This can include failing to note the details of sales or when a work of art is moved between galleries, not taking or filing photos for each piece of art, and allowing confusion in terms of titles or the fact that certain works have been purposefully destroyed or worked over. Messy records create more and more issues as time goes on. Once an area of record-keeping has been neglected, it becomes harder to know where to start with bringing everything up to date, and the project of going back into old records to organize them correctly can seem enormous. To approach your own record-keeping, recognize what does work for you and be open to new systems that may be easier to maintain that what you've been using. You can certainly have a satisfying and productive art career with a few holes in it, but if you can avoid this stress, it’s a good idea. We hope this episode will inspire those of you who have the need to organize—and those of you who are on top of it all to feel very good about that! Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Creating art is a way to share our thoughts, the ways we see the world, and experience life. This communication is vital-- even when we’re immersed in our process, thinking only of the next step ahead--our unseen, largely unknown audience is with us. Very few artists work in total isolation, with no desire to connect or communicate with viewers. Yet artists are also encouraged to follow their own vision, to not let other people’s reactions pull them off track. Today we’ll toss around some thoughts about the desire to connect with our viewers, and what this means in the studio. The artists personal connection to the work, and in making the work is important in communicating to the viewer a sense of humanity, that their experiences and ideas connect with someone else’s, and that there is mutual validation in both artist and viewer when the connection is made. From the artist’s perspective, the primary impetus for making art may be self-expression rather than communication with others, but as soon as the work is out in public, the viewer’s responses complete the cycle of communication. Most of us feel deep satisfaction in knowing someone appreciates and understands our work. For the viewer, connection is vital. If no way of understanding the work is evident, even in an intuitive way, impatience and frustration often set in quickly. Ambiguity and multiple interpretations are fine but there still needs to be some basic structure or purpose sensed in the work. Without that, ambiguity is just muddle. When an artist has clarity and purpose, the viewer senses this and can enter the work as in a conversation or in appreciation of a story. It’s the job of the artist to create this conversation and invite the viewer to participate. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
As artists, we are often presented with situations that ask us to say “yes” to something that feels challenging or risky. This could be as small as the need to rework a painting to as large as agreeing to a major solo exhibit. Accepting any challenge requires a commitment and it may feel stressful and bring on self-doubt. Yet successful artists always take some risks that lead to growth and new possibilities—in their careers and in the studio. Today Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin, talk about why it is important to take on challenges and risks in your art practice--along with a few stories about their own related experiences. Rebecca and Jerry recorded this episode on video as well as audio, so if you'd like to see the video version, please visit the Messy Studio Facebook page or the Cold wax Academy Facebook page. That’s www.facebook.com/messystudiopodcast or www.facebook.com/coldwaxacademyIn .Here's the Youtube link: https://www.youtube.com/watch?v=3q5Cq7ZI3xI As much as we may hesitate to step away from what is known and comfortable, risks and challenges offer advancement and growth that are vital to growing your work and art business. Of course, we need to be discerning, to consider what is realistic, or whether there is anything about the idea that doesn’t seem legit or too much of a distraction. But too often we hesitate to take opportunities that really will be beneficial because we consider them too risky. A good question is, what exactly are you risking? Often the dangers are larger in your imagination than something that might actually happen. The gains are very often much larger than any risk involved. Making a commitment to follow through on a challenge that offers promise is actually quite freeing. You gain a sense of purpose and focus that moves you forward in every aspect of your practice. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production. Special Guest: Jerry McLaughlin.
As much as we may appreciate living an entrepreneurial lifestyle, juggling its many demands can be exhausting and challenging. Artists who are also involved in the business of art can easily feel scattered and stressed by all the tasks needed to stay productive and on track. But one of the most challenging demands may be stepping away from all of that on a regular basis. Today we will toss around some ideas for the type-A personalities among us who find it hard to relax. As self-employed people, we can easily feel that we need to work all the time. Having high goals and aspirations, the drive for income, and knowing our responsibilities to other people all can lead us to ignore the need for down time. And of course, we also love what we do so that turning to our work rather than to something more relaxing is natural. But the feelings of pressure can overwhelm us. A helpful approach is to distinguish between demands that come at you from the outside, and which demands we place on ourselves. Recognizing the difference can help you sort out how to deal with finding a better balance to work and down time. Pressures that come from outside us in the form of requests and commitments from others need to be carefully considered along with a realistic evaluation of your time. Pressure that we place on ourselves from within can challenge us to think about perfectionism, fear of failure, land ack of confidence. Given the many aspects of managing an art career, how can you find ways to open up your time to include more leisure? Consider what can you delegate, what can you let go of instead of demanding perfection? Can you be more realistic about managing your time? What about taking days off just as you would at paid employment? Or scheduling a day a week just for your art, so that you get your studio time in and can perhaps then relax about fitting it in every day? Taking down time may not come naturally to you at all. Some of us have to sternly demand of ourselves that we to take time off. We’re so good at all the other demands but the one that asks us to just “be” seems almost impossible. We may resist it and call it a waste of time. But it’s actually very important to live a balanced life, enjoy some down time, and trust that we will retain our ambition and sense of purpose even as we step away sometimes from the demands of our lives. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Artists are often cautioned not to overwork their pieces, especially when the medium is drawing or painting. This advice is meant to prevent work that is too fussy or refined, or otherwise lacking energy. But many artists place importance on fine-tuning their work, and on paying close attention to detail. The art-world advice against overworking may not apply to everyone’s approach. Today we’ll take a closer look at how this advice can sometimes get in the way of creating your best work. Often instructors and other artists will tell someone, “don’t touch it, it’s done.” In other words, “don’t overwork it.” This is usually said with all good intentions, but it takes away the artist’s decision about whether to keep going. If we don’t test the boundaries of what is done, we don’t discover new territory or learn to control the medium. There are art media that need to be used in a deliberate, direct way, start to finish, with no reworking. Or you may simply want your work to be very gestural or fresh, in which case you do need to be concerned about an overworked surface. But overworking often hovers as a caution even with media that can easily be reworked and changed as part of the process. Whether avoidance of overworking applies to you or not depends not only on your medium and style but your personality as well. It may suit you work patiently on a detailed or subtle painting for a long time as you refine and edit. This doesn’t mean you’re too perfectionistic or picky, it’s simply your own approach. Overworking is one more art term that is used frequently without much explanation—it’s based on assumptions that may or may not be true for your own preferences and way of working. I hope that today we’ve gotten you to question whether this term means anything at all to you, and if it does, how you would define it in your own way. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
As artists, we need ways to organize our work in our minds, on our websites or in our presentations. Where do logical connections exist and how can grouping certain pieces together aid in understanding them? Thinking of your output as “bodies of work” is a useful approach. But this is also one of those vague art terms that means different things to different people. What constitutes a body of work? How many pieces does it include? Is it the same as a series? Today we’ll be examining this term in the hopes of providing some insight into how it applies to your own work. One way to think of a body of work is simply as a group of work that is cohesive or consistent in some way. There is some uniting factor, but the range of what that might be is wide. The term tends to be a broader or more open-ended term than the term, series. Bodies of work tend to evolve organically rather than being planned out with set parameters, as many series are. The term might be applied to all of an artist’s work in a particular medium, or done on an artist residency, or that explores a particular subject matter. A body of work can even mean the work done in an artist’s entire lifetime of creating. . For your own purposes, perhaps the easiest approach is to use the term “body of work” as a way of organizing and grouping what you create. It is a flexible term that can meet your own needs when designing a website, choosing work for an exhibit, or talking about your development as an artist in a talk or other presentation. Looking back at various bodies of work you have created can also give you a helpful sense of achievement and continuity in your art practice. Thanks to everyone who has been sharing the show and donating! Special thanks to Wendy Catlin for her donation via PayPal. If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies. www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
A work of art created with intention is compelling--we intuitively recognize when something is done with purpose and inner direction. Yet as artists we are also seekers and explorers in our work. Our creative path is often wandering rather than straight, and it may seem false or against our nature to state a clear intention or meaning behind our work. How can we work with intention yet remain open and flexible? What are the advantages of clarifying intentions? Knowing what is most meaningful to you in your work and applying that knowledge in a flexible way is key. Your intentions, if broad enough, allow for unfolding interpretations over time. You can also think about more narrowly focused and temporary intentions within the bigger picture. These might serve the needs of a particular work of art or series, or be about focusing on learning a new medium But your most basic, underlying intentions, once recognized, can remain unchanged for decades. They are the “big picture” focus that underlies who you are and what you want to say. What moves you? What qualities do you always want in your work? What ideas have always pulled you? Over time, your expression of these ideas finds different forms, but these basic aspects of who you are remain true. Acknowledging and writing down your core intentions is a powerful tool. Intentions help you to stay on track and to critique and understand your own work. While the idea of discovering these may seem daunting, it need not be done all at once. Setting intentions can be a work in progress until you feel you have found the essence of what is meaningful to you. At that point, they become a guiding and unifying force in bringing strength and consistency to your work. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints! www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Many of go through times in our lives when we make radical changes—either by choice or because of something imposed on us by circumstance. But even if the big change is something, we want to make mixed feelings are inevitable and stressful as we let go of the old and step into the new. Big changes challenge the very idea of who we are and how we operate in the world. How can an art practice help us through a time when we either need --or want--to reinvent ourselves? Sometimes our art changes as a result of our process, ideas, or other aspects of growth. But changes that comes at us from the rest of life affect our studio practice, sometimes in ways we don’t welcome. And any change, even a positive one, like retirement or moving to a place you’ve always wanted to live, creates stress that can alter our work. How can we approach life changes in a creative way? Sometimes what is happening in our lives means that we need to take a break from the studio for more than just a few days. As long as you do something to hold onto the art-making part of yourself you can weather those times. That might be journaling, meditation, talking to a sympathetic listener. Or maybe you can keep your work going in spite of the limitations—using more portable or less messy materials so you can work anywhere in short amounts of time. If you can continue to work at some level during your changing situation, you may find this to be therapeutic in helping you process what you’re going through. Drawing, simple collage, and other direct and quick ways of working can help you through a big transition with your art self intact. The practice of making art is itself a stress reliever, a time away from other concerns. “Nothing is constant but change” is a saying that proves itself over and over. When big changes happen in our lives, can we sustain our art practice? We probably don’t need the additional stress of NOT making art when it is something so important to our sense of who we are. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints! www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Working in series is usually an involved process in terms of both time and focus. Artists are often known for series that explore ideas in a sustained, deep way. But the intriguing aspects working in series can also happen in a quicker, more spontaneous way, with a new piece each day. Today we’ll look at working in series with a sketchbook, or using other small or quick formats, and explore how this can be an important part of an artist’s practice. Series of any kind generate and develop new ideas, grow technical ability, and help to organize your thinking and direction. Working on a series in a fairly quick, direct daily practice opens the door to new ideas and abilities even wider. Your process with such a series may be either spontaneous and open-ended, or more conceptual and defined. In either case, completing the individual pieces in a short time can yield surprising and satisfying results. In this episode we present background on two such series, Rebecca’s Pandemic Sketchbook and James Edward Scherbarth’s Currach and Stone Series. Though they approach their work with very different intentions, these are both very personal and meaningful series to the artists. The work also is created within boundaries that help define it as a series—limitations on focus, format, materials used, and a timeline set by the artist. By delving into the details of these two series we hope to inspire listeners to try their own practice of recording thoughts, ideas, and moods on a daily or regular basis as a series, and to consider what this might bring to their work overall. James Edward Scherbarth website: www.jamesedwardscherbarth.com Eric Maisel's book: The Power of Daily Practice Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints! www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
We all drew, painted, and made things out of playdough and construction paper as little children, in spontaneous and unselfconscious ways. Some of us retain those memories, and we may also have children or grandchildren whose artwork we love. The art of children affords an intriguing view of a very different way of seeing and thinking than we have as adults, and many abstract artists have found it a source of inspiration. Today we look at some special qualities of child art and how it may feed our abstract ideas. Many contemporary artists find kid’s art intriguing, especially art from the very early years before the child has been told how things “should” be depicted. Whether this is done consciously or unconsciously, well-meaning parents and adults present young children with a very different idea of what art is about. Their emphasis is on recognizable objects portrayed with a single meaning, as in “this is a person, or this is a tree” without considering the different perceptions of a young child. Children naturally follow their own intuitive logic in depicting their world, using symbolic and narrative approaches that may not make sense to an adult. They are fluid not only in their freedom and inventiveness with materials, but also in their interpretations of their own work. The story they tell about a painting may be different tomorrow, showing how intimately they engage with imagination as they create. We all made this kind of art long ago. If we’ve lost the memory, can we still reconnect with some of its liberating aspects? Consider the power of symbols, the freedom from conventional approaches to space within the picture plane, and the focus on process rather than results that young children display in their work. Perhaps above all, their trust in an intuitive “rightness” about their work, whatever adult rules it may break. We may have left this state of flow many decades ago, but we can reconsider its advantages now from an adult perspective and how they may fit with our current abstract expression. Thanks to everyone who has been sharing the show and to Phyllis Lasche for donating via PayPal. Make sure you listen to the episode we did with Phyllis, episode 160, if you haven't already! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints! www.messystudiopodcast.com/blick It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and and click on the Memberships button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Abstract artists find many ways to bring meaning to their work. For some, this may be purely an investigation of color, line, or other elements. For others—it is the expression of emotion or evoking aspects of the visual world. Today we’re going to look at another powerful way that artists can bring meaning to abstraction—through the use of symbols, whether personal in origin or more universally recognized. We recognize and use many symbols in daily life—every company religion, government, and organization adopts symbolic iconography, and written language and numbers are symbols also. In art, symbols—both realistic images and abstract ones—have been used since earliest times and in every culture. They may be based in universal ideas or be very personal to our own experience. As artists, how can we bring symbols into our abstract work? This may be a particularly useful path for artists looking for a way into abstraction and away from literal representation. Symbols that refere to actual objects or figures can be placed into an abstract context and provide a bridge between realism and a more interpretative approach. The most powerful symbols are simple, strong images that distill meaning and have strong powers of communication. Those that have meaning to you can be pulled from any meaningful source, and discovering which you feel most connection with may be a portal to expression thatyou have previously overlooked. You may even find symbols in your work already but not recognize them as such--colors, shapes, or compositions that recur over time--that may reveal meaning if you focus on them. Symbols have strong connections to our subconscious mind and can make themselves known even when we are not looking for them. Symbolism is a very large topic and we can only touch on a few ideas here, but we hope that this episode will inspire you to give new consideration to using symbols in your work. Blurb Thanks to everyone who has been sharing the show and to Laura Smith for donating via PayPal. If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com! When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints! www.messystudiopodcast.com/blick Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Every time we make a piece of art, we reach the point of deciding if it’s finished --yet as common as this moment is in studio life, it is often one of doubt and second-guessing. What are some meaningful criteria for when something is done? Are there questions to ask ourselves in declaring something finished? Do we have to finish everything, or is it OK to abandon certain pieces? Today we will look at this ordinary but complex process of deciding a work of art is done. Many times, artists look to others for an opinion about whether a work is done, abandoning their own decision process for someone else’s view. It’s also very common for someone—a well-meaning instructor, friend, artist, or a family member—to offer unsolicited advice about something being done. “Don’t touch it, it’s perfect” may seem like a helpful comment, but it can hinder the artist’s own path and vision. In a classroom situation, an instructor’s role may be to push a student who wants to stop too soon, but within the context of the student’s own goals. For all of us, asking for or offering constructive feedback is helpful, but we need to take responsibility for setting our own criteria for finished work. That involves intuition of what feels right, plus an objective understanding of weak spots and the need for more edits and changes. Coming up with good questions and criteria to decide if something is done is important. And it’s also important to be honest about feeling impatient or being willing to settle for less than you are capable of creating in the desire to be finished. Often, we need to set a work aside to gain some distance and insight into where a piece is heading. And sometimes, we can decide that we’ve learned what we can and move on. Even with media that can be reworked many times, like an acrylic or oil painting, abandonment can sometimes suit our best interests. It may not be until we start something new that we realize how much we’ve learned in the previous struggle. In the end, taking full responsibility for deciding something is done and gaining some clarity about your own criteria is the path to excellence in your work. Thanks to everyone who has been sharing the show and to Anne Jackson for donating via PayPal. Check out her website at https://www.annejacksonfineart.com/. We mentioned her in Episode 158, Abstracting With Emotion. If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints! www.messystudiopodcast.com/blick Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Although most of us wish for success with our work and art careers, defining what that means is tricky, changeable, and very personal. Does success mean selling your work, recognition in the art world, or simply your own satisfaction with what you create? How do our ideas of success shift over time? Can we be satisfied with our current level of success or do we always want more? Today, as we look ahead to a new year, we’ll toss around some ideas about success and what it means for working artists. The dictionary definition of success is both the accomplishment of an aim or purpose and the attainment of popularity or profit. The first is specific, the second vague and subjective. We may use this word often without really considering how difficult it is to define for our individual situation. In an art career there are no defined rungs on the ladder of success. Instead, there are many different kinds of success, and many people never really feel successful even when they do have a lot of accomplishments. We tend to constantly move our own measures of success to just out of reach, which can make us feel that we still have a long road ahead. There’s nothing wrong with having goals but it’s good to give ourselves credit for what advancements we have made. The accomplishments that don’t include outside recognition, sales, shows and other landmark moments in an art career—the inner, subjective feelings of success-- may be harder to recognize. Yet for many artists, striving for outside validation may not be truly satisfying. For them, success is felt most strongly in their own studios, or with a small circle of art friends or local exhibit opportunities. It’s important to understand your own standards and goals and accept that they may be different from ideals that originate outside yourself. Ultimately, we define success in our own ways, and if we don’t give it some thought we can easily buy into some vague standard that is not in alignment with who we are. If we don’t understand own criteria, we may feel unsuccessful, unfulfilled, and down on ourselves, as well as envious of other artists. Like so many aspects of an art practice this takes introspection and self-awareness but doing this can bring more peace of mind as we cope with the competitive aspects of the art world. Thanks to everyone who has been sharing the show and to Tara Leaver for donating via PayPal. Check out her website at www.taraleaverart.com. She does beautiful work inspired by the sea! If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! www.messystudiopodcast.com/blick Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Have you ever wondered what is it like to be involved in a collaborative project with other artists? What are the challenges and benefits of creating works of art with others who share your aesthetic vision? How could you get started, and what kind of ground rules or boundaries do the artists involved need to agree upon? In today's episode, Rebecca interviews California artist Phyllis Lasché about her involvement with Stone Soup, a collaboration of three artists--two sculptors and one painter--who develop their work by passing it from one to another. Phyllis gives us an inside look at this exciting process and what she has gained from it in her own work. Check out these websites to see the work of Stone Soup: Phyllis Lasché palasche@gmail.com www.phyllislasche.com Deborah Benioff Friedman dsfaec@gmail.com www.deborahbeniofffriedman.com Gina Telcocci gina1telcocci@gmail.com www.ginatelcocci.com Stone Soup www.ginatelcocci.com/stone-soup-project Instagram site: stonesoupart https://www.phyllislasche.com/ Thanks to everyone who has been sharing the show and to Patricia Elly Fros for donating via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast! www.messystudiopodcast.com/blick Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production. Special Guest: Phyllis Lasché.
At the end of 2020, we’re overloaded with reflections in the media about how society has navigated this strange and difficult pandemic year. On a personal level, we all have stories of struggles, loss, insights, and changes. Today we are especially interested in what this time has meant for us as artists. Last week, Rebecca posed the question to our listeners “How did 2020 impact your work?” and today on our first podcast of 2021, we’ll share some of the responses we received as well as our own thoughts. The responses we received aligned with the same pattern we saw earlier in the year, when we noticed three main responses as the pandemic unfolded. The first group have experienced much difficulty with finding focus and motivation for their work. One described the situation this year as “paralyzing.” While some experienced this mainly at the beginning of the pandemic, for others it has persisted. It’s likely that very few artists have avoided these times completely, with the constant influx of bad news. A smaller group of artists who responded have kept on in much the same ways and with similar work as before COVID arrived. In our earlier podcast, we speculated that continuing with what is familiar is helpful in making the studio a refuge from all the other changes, a steady and productive place removed from the outer chaos. The largest number of people who responded to our question, though, experienced positive changes in their work and attitudes. They appreciated the extra studio time due to lockdowns, and looked for inventive ways to use materials on hand and to connect with other artists. Some found new directions in their work—a focus on drawing, launching into plein aire painting, discovering photography as a creative outlet. Several found meaningful connections to their immediate environment when travel was cut off. And several expressed insight into the meaning of their work for them and their gratitude for being able to pursue it. Many of us are feeling hope that the anxiety, lockdowns, isolation and other difficult aspects of the 2020 pandemic situation will be easing up in the coming months. How will we look back at this time and what has it brought to our work that was not there before? Thankfully, for many artists there have been gains along with all the hardships and losses. If you are interested in buying a 3D Printer this is the best deal Ross could find on an Ender 3. This is not a paid endorsement, just a personal recommendation! https://www.talkable.com/x/UqZPCK When you buy art supplies at Blick remember to use our affiliate link to support the podcast! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and to Albi Ulat for donating via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Abstract artists are sometimes stereotyped as uninhibited people who slap paint down in direct response to strong emotion. But this idea is far from accurate. While many abstract painters do aim to express emotion and mood, their approaches vary widely --from spontaneous to highly controlled. And even the most intuitive artists need to thoughtfully consider their use of the visual elements and design principles. Today we will look at painting abstractly as an expression of emotion, mood, remembrance, or other states of mind. While we may think of abstract expressionist painters of the mid-20th c. as being the epitome of emotion-based work, with their bold brushwork, huge scale, and lots of color and contrast, they may simply be the most obvious. The very name of the movement, abstract expressionism, implies painting with abandon and feeling. But expressing emotion, and working in a very loose, spontaneous way are not necessarily the same. If we think emotional work should look gestural and loose, we may fail to really see the emotion in other work that is much more subtle in its effects. A restrained way of working emphasizes that as people, not all of our emotions are out there, easy to read. There can be depths of emotion and even spirituality to more austere work. The degree of personal emotion that we express in overt ways is an aspect of personal voice and also of where we are in our learning process. Beginners don't yet have the skills that help open the channels to inner experience. Creating paintings that connect with your own feelings or inner experience and at the same time with that of your viewers can be very challenging, Over-thinking, shielding our feelings even from ourselves, and settling for half-measures when we could be pushing the expressive aspects of scale, color, and mark-making can all stand in the way. But recognizing what is powerful in our work in subjective ways is a good step toward opening the channels of emotional expression, whether in subtle ways or bold. Website mentioned in today's episode: www.richarddavidson.com We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and to Albi Ulat for donating via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Every so often, we like to address the ways that creativity and well-being intersect, and it seems appropriate to do so now as we come to the end of a very difficult and stressful year. In a recent seminar on Buddhist philosophy, neuroscientist Richard Davidson spoke about four pillars of well-being—awareness, connection, insight, and purpose—all of which are practiced every day in the studios of artists as part of the creative process. Today we’ll take a closer look at these ideas and consider how an art practice enhances a positive state of mind during stressful times. Richard Davidson regards well-being as a skill that can be learned, and he has shown in various studies that bringing certain mental approaches into people's lives creates positive changes in their brains, due to the quality of neuroplasticity. The first of these, awareness, is an imoportant one to us as artists. It's rucial to our creative practice in order to be in tune with our work and it can even be practiced while doing mundane studio chores. Developing the ability to be in the moment, to move past feelings of impatience or frustration, and to engage fully in your process is a wonderful way to develop this aspect of well-being. Connection, the second of Davidson's pillars, emphasizes our need for interactions with other artists and also the function of our work as communication. Insight, the third pillar, comes into play in the many ways we contemplate our work, track our ideas, and find pathways between our thoughts and feelings and what we create. And finally, the fourth pillar--a sense of purpose--is innate to many artists who go to their studios as often as they can, and continually seek to develop their art. Unfortunately, this sense of purpose can dissipate in times of stress. As with the other pillars, it's helpful to constantly cultivate focus and growth, but also to be patient and kind with ourselves when we temporarily lose our way. Even though we have many opportunities as artists to enhance our own pillars of well-being, we are certainly not immune to negative states of mind such as anxiety, depression, and self-doubt. But we do have a set of tools in our creative practice for improving our states of mind –some of which may take some time, others we already understand and practice every day in the studio. And according to Davidson, doing so can lead to actual changes in our brain structure that help to create a positive outlook. Website mentioned in today's episode: www.richarddavidson.com We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and to Albi Ulat for donating via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Lines and marks in a work of art connect the viewer very directly with the hand of the artist. They can express individuality, add structure, and show evidence of the artist’s process. Perhaps because these visual elements can reveal so much, many artists are self-conscious about using them and when they do, the results can appear contrived, awkward, or random. How can we use lines and marks in purposeful ways that feel right to us? What might more intentional use of lines and marks bring to our work? Similar to the urge to view a Rembrandt or Van Gogh from inches away to see their individual brushstrokes, we are often drawn in to examine a work up close when it includes lines and marks, and we can sense the artists hand at work. There is often an immediacy and directness in part becasue just a simple tool has been used--a pencil, crayon, or brush. In abstraction, marks and lines as visual elements can be created for their own sakes or for expressing a huge range of emotions and ideas. As artists using marks and lines, we need to remember that not that every line or mark works or should be retained. As with any visual element marks and lines need to work within the context of the piece. It often takes trial and error, and thoughtful editing to discover the right placement or type of mark. Yet we also need to resist the inner critic who may caution us that lines and marks are too revealing or too quirky. On the other hand, a good way to shake up a painting that is too tight is to apply a spontaneous mark that you then need to react to. Although there is much to explore with mark-making it is a visual element with which many artists never become fluent. Making marks and lines for their own sakes does not always come easily. Certainly, many wonderful abstract works of art do not include this element, but it is worth asking yourself if it’s one you avoid because it is too challenging, and to consider what a focus on mark-making might bring to your abstract work. We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
As artists, we are also appreciators and often consumers of art. We not only buy and trade for art, we also study the art of others through art books, documentary films, exhibits, and lectures. What can we gain from looking deeply at the art of others? It’s often said that artists are sponges, in the sense that we look to other artists and their work as sources of ideas and inspiration. We soak up ideas and wring them out in our own unique ways. If we are sponges, what are we soaking up? One of the first aspects we may notice in looking at the art of others is how a work is made --how does the artist produce particular effects, and what tools, surfaces, and media are used? As makers of art ourselves, we have a unique appreciation for technical mastery and often our curiosity is engaged on this level. Some knowledge of art history is another important aspect of appreciating the work of other artists. We can draw ideas from a huge range of influences in different eras and cultures. Understanding the basics of art history helps us place our own work and interests into a broader context, to understand that we stand on the shoulders of many who came before us. This can also provide us with a sense of connection to other artists that transcends time and distance. An art practice can easily feel isolated and solitary. We may connect with a few artists in our immediate circle or via social media, but this tends to provide only a narrow range of ideas and input. We need to remember that we are part of a larger art world and that other people’s art has much to teach us. We belong to an immense tribe of artists over time and distance and this understanding can continually refresh our own ideas and help us feel part of something much larger than our own time and place. Right now is THE BEST time of the year to buy art supplies at Blick.com! Get your art supplies for your art practice (as well as gifts and stocking stuffers) at holiday discounts, and support the podcast at the same time by using our affiliate link. www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Words like “wow,” “stunning,” and “amazing” are music to the ears of many artists. We all create plenty of art that elicits no more than a passing glance or Instagram “like” and that’s fine—it’s part of the process. If we are making art constantly, what we make includes a range of qualities and ideas. But what is it about those special pieces that makes them stand out and really engage the viewer? What can we learn from them and what questions do they raise? If art is communication, our work that really engage people is telling us something. We are connecting, speaking to other people in ways that they can receive and respond to. When a piece both pleases us and feels true, and engages the viewer in a strong way, what characteristics does it tend to have? First, the work shows a strong sense of purpose or intention. That may come through in in subject matter, color or other visual elements, scale, or any aspect of the work that has a certain boldness to it. The work also arises from personal meaning—it is sincere, authentic, not derivative--what we call personal voice. Very impactful work also typically shows a mastery of technique and high levels of craftsmanship, although that alone may not carry the piece, if expression is not also part of the work. Finally, we respond to beauty, in the sense of work that has depth, power, and meaning, Finding ways in our work to stay true to our own ideas and communicate with others in a strong and engaging way is one of those life-long challenges that we take on as artists. We will have pieces that hit that mark and many others that do not. Paying attention to our work that does fit both criteria is worthwhile—not to repeat it in a formulaic way-- but to try and understand what it has to teach us. Right now is THE BEST time of the year to buy art supplies at Blick.com! Cyber sales are active all weekend while supplies last! Get your art supplies for your art practice (as well as gifts and stocking stuffers) at a massive discount, and support the podcast at the same time by using our affiliate link. www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
2020 has been a rough year so far for many of us. We don’t need to go into all the ways we’ve experienced anxiety, loss, and other struggles. But today, Thanksgiving Day in the US, is a good day to think about the things we are grateful for and have helped us make it through this difficult year. For many of our listeners that includes gratitude for family and friends, appreciation of nature, and of course, our art practices. Happy Thanksgiving to all who celebrate it in whatever ways possible this year. This year we may feel grateful in new ways for even the simple things and things we may take for granted in normal times. Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link. Right now PanPastels are 20-40% off!! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Abstraction takes many forms for artists—from working with the visual elements for their own sakes to using emotion and mood as a starting point, to interpreting what they see in the world around them. Many artists combine these approaches to find their own personal voice in abstraction. Today we are going to examine the path favored by many artists who are inspired by the figure, the landscape, or other subjects in the visual world while avoiding literal depiction. What are some things to consider if this is your own direction, or intrigues you with its possibilities? A starting point is asking in what ways would you want to engage the viewer. Do you want the viewer to identify the source ideas of your work? You can be inspired by the visual world yet leave little obvious evidence of that. Some works of art might not show source ideas in the visual world at all even though they underlie the composition or color choices of the artist. Other artists seek to evoke associations with the visual world without including specific images, while others give more clues to guide the interpretation. If you are interested in this approach, consider what clues you are giving the viewer and if they align with how you would like the image to be understood. For example, an illusion of space has a lot to do with how an abstracted landscape is perceived. Once there is a sense of physical depth, of looking at a scene, the literal reference become stronger. For example, the inclusion of a horizon line evokes pictorial depth. In abstracted figures, the amount of detail in the face or clothing may be connected to the degree of literal representation. The kind of title, whether open-ended or specific, is also a powerful way to direct the viewer's interpretation. Abstraction also typically emphasizes just a few of the visual elements, rather than using the full range necessary in realism. Expressive use of the visual elements in a way freed from representation is also a hallmark of abstraction. This can take the form of gestural marks, use of subjective color, simplified shape, bold contrast, and many other approaches. People often have limited ideas of what abstraction means—that it is just about shape or color or design. But you only have to think about the early modernist artists like Matisse and Cezanne to notice their movement away from realism into abstraction while retaining subject matter. Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link. Right now PanPastels are 20-40% off!! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
The limitations and parameters we place for ourselves in the studio can have both positive and negative effects on our work. Like so many aspects of art practice, the challenge is to find a personal balance that suits us—in this case somewhere between being too rigid and too scattered. What rules do we set for ourselves and how well do they serve us? Are there rules that we accept from other people that don’t suit us, personally? Can our own helpful boundaries shift over time? We use many words to describe these boundaries, including focus, intentions, parameters, focus, and rules. When we speak about giving ourselves "permission" to go beyond these boundaries it is a recognition that sometimes they can be too limiting. But if we don't sometimes break through what we regard as our own rules, we may not take important creative risks that would be beneficial. At the same time, a narrow focus leads to mastery and depth. So, in the end, the balance between risk taking and staying with a particular focus is an individual balance, and one that changes with our current situations. It's useful to take a close look at what rules we set for ourselves, where they originated, and how much value they have for you. Some are ideas passed along to us by parents or teachers and represent a one-size-fits-all, narrow point of view, while others from your mentors may be wise and worth following, A lot of rules from others are so integrated into our thought processes that we never even think to question them. Good rules will not feel like heavy restrictions, but instead offer ways forward. Our personalities also create limitations, and we may rely on them to stay in a narrow comfort zone. For example, we may believe that we need to keep our work to ourselves or that we should not stretch in terms of exhibiting or approaching galleries. Some artists inhabit the other end of the self-esteem spectrum and believe that they need to charge high prices or do not ever need input from others on their work. There are also perfectionistic tendencies many artists struggle with that tell them they are not allowed to fail, to experiment, or spend time at things other than their art. Which rules that you follow might better be regarded as guidelines or general advice rather than rigid facts? Which ones are helpful and practical? Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link. Right now PanPastels are 20-40% off!! www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Once again, our listeners have come through with answers to our Facebook query about ideas for storage, worktops, unusual tools, and other studio tips to make our spaces and processes more efficient and yes neater and more organized. Even those of us who happily work in messy conditions like to be able to locate our supplies and to use our available space in the best ways. Today we’ll talk about some of the tips people gave us for improving their studio spaces and working methods and add a few of our own. The enthusiasm shown for this topic shows that artists have very practical concerns in organizing their studios and also that many of us are happy with and proud of the solutions we’ve found. Favorite tips included storage solutions, finding efficient use of space, and unique tools and studio equipment. In all of these, a resourceful, inventive attitude seems to serve us well. Many artists repurpose and recycle items in interesting ways, from kitchen items to packing supplies to small items like toothbrushes and icepicks. They seek out studio furniture and storage units from sources like hardware stores, used furniture stores, and fixtures from store close-out sales, or they build their own. Palettes can be made from metal trays, glass tabletops, granite countertop scraps, and even ice cube trays. Devices meant for hanging curtains, and organizing shoes and toiletries, and clear, stackable plastic boxes are good storage solutions. Pegboard is useful for hanging tools, paint tubes, and paintings in progress. This is just a small selection of the ideas that artists submitted. Almost any studio contains some smart solution for making the best use of space or furthering a process from painting to cleaning, Necessity is the mother of invention, and in many cases these solutions are things that you can’t even buy or are superior to ones that you can. Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
A trip to the art supply store or website is something most of us enjoy. We’re not just stocking up, but entertaining possibilities, wondering what a new color of paint or kind of brush or sculptural tool could bring to our work. Exploring new materials is part of what we do as artists. But there’s also a world of art materials and processes available at no cost, outside in nature. What can be done with sticks, dirt, rocks, feathers, bones, and other bits of nature? Today we’ll toss around some ideas for using natural objects as art materials and tools, and forces of nature as part of the art process. Many artists enjoy collecting natural objects for their beauty and unique aspects but also for specific purposes in the studios. Using materials from the natural world opens up many possibilities for mark-making, textural effects, and for using processes such as allowing weather to affect a piece by placing it outside or printing from rusted metal. The impulse to create with natural materials goes back to childhood for many of us when we made snow forts and tiny environments from sticks and rocks, or sealed autumn leaves between sheets of wax paper. The connection to nature we felt then can be extended into our adult practices as an expression of our experiences in the landscape. Many materials produce unique effects that can't be found in commercially available supplies, such as sticks and dried plant stalks for drawing, dried organic material mixed into paint, and unique natural dyes. Sometimes the personal meaning of a work is enhanced by the origin of the material such as sand from a particular beach that the artist visited. Artists also develop inventive ways of interacting with natural forces as part of their practices. The British artist Andy Goldsworthy uses both objects from nature and its processes to create ephemeral sculptures of ice, earth, and fallen leaves, which he then documents in stunning photographs. Other artists bury drawings or paintings in the ground to let the earth color and erode them or set them in the rain to wash them out. Irish artist Nuala Clarke created an installation piece using bits of cloth that washed up on the beach that were beautifully weathered and worn, titled The Mariner's Laundry. Expanding our creative vision to what nature and its processes can bring to our work is exciting and a way to bring your own experience of nature and natural processes and forces to your work. Artists mentioned in this episoide: Andy Goldsworthy, Nuala Clarke, Anthony Crammen painting with fire: https://www.youtube.com/watch?v=IxwQ0itTCpM Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thanks also to everyone who sent kind messages to Ross and Kara on their wedding day last week. The wedding registry is still active on Amazon if you would like to send a gift! (https://www.amazon.com/wedding/registry/20A1CHK052VZ9?ref=wr_search_page_result_10) Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
With all of the ups and downs that we go through in the studio, it may be helpful to know that the creative process involves stages that are fairly predictable and universal--some of which are challenging. Although these stages or steps are usually described as taking place as a linear progression --from initial idea to finished work--most of us find our own process to be more complex. Today we’ll discuss these creative stages as a reminder of what we all go through as artists, while at the same time acknowledging that few things can be described neatly and simply when it comes to creativity. The stages of the creative process are often listed as preparation or inspiration, incubation, gaining insights, questioning/testing, and finally, the actualy production of the art. Few artists follow these in order, or as isolated steps. But each stage or phase does enter our ongoing working process in some way and it is interesting to recognize these and to know that we all experience these in common. It can also be reassuring to know when we are blocked or frustrated in our work that some stages tend to take time to work through. During the incubation phase for example, the way forward is not be clear, even though under the surface you continue to work out an answer. The questioning aspect of creative process can also be frustrating, as doubts and challenges come and go throughout the working day. Yet both of these phases are essential, and interrelated with the other phases of creativity. It seems nearly impossible to explain the complexities of the creative process in a way that would account for everyone's reality. While there is value in understanding these basic phases, taking them too literally or as rules to follow is overly simplified. Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick Right now you can get a 2 oz container of Gamblin Solvent-Free Fluid Medium when you order $30 worth of Gamblin paints or mediums. Cold Wax Medium is also marked down 25% and paints are discounted up to 40%! Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thanks also to everyone who sent kind messages to Ross and Kara on their wedding day last week. The wedding registry is still active on Amazon if you would like to send a gift! (https://www.amazon.com/wedding/registry/20A1CHK052VZ9?ref=wr_search_page_result_10) Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com The Messy Studio Podcast is a CORE Publication MGMT production.
Confidence often seems to go along with success in the art world—when talking about the business side of things, qualities like self-assurance, decisiveness, and the ability to speak well about your work are important. In the studio, confidence may take a more private form—the ability to try new things, or to carry through with major projects. While there’s no doubt that confidence is a good thing, many artists feel they fall short of having it. Today we’re going to talk about confidence in a somewhat philosophical way that may help see it more broadly. In this episode we reference a book by a Tibetan Buddhist monk, In Love with the World, by Yongey Mingyur Rinpoche about a spiritual journey in which he cast off his status and the trappings his esteemed position and wandered in India for several years without any resources, no money or possessions. He wrote, "To be confident you have to accept impermanent conditions." This is the opposite of the way most of us think about confidence, as a quality that results from knowing what to expect. But really, we do not ever truly know what lies ahead; we are always dealing with the unknown. Past successful experience can give us a sense of confidence but things can always turn out differently. Many of us have developed aspects of ourselves that show true confidence but may we may not recognize them as such. All of us have met and dealt with adversity in our lives, and the ability to adapt and cope with whatever comes along is important to confidence. Confidence also encompasses a sense of trust when things are rough; going ahead even when you feel anxious. It means being prepared for what you can control but understanding that our personal control is limited. And finally, it means understanding how to support --and accept support-- from others. Confidence is a composite of many qualities that we practice all the time in daily life, rather than something that we either have, or we don't. As artists, confidence comes through in our willingness to try new things, to be flexible, to remain true to our own vision, trusting in our art process, and to find balance with our goals and expectations. Book mentioned in today's episode: In Love with the World, by Yongey Mingyur Rinpoche. Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Thanks also to everyone who sent kind messages to Ross and Kara on their wedding day last week. The wedding registry is still active on Amazon if you would like to send a gift! (https://www.amazon.com/wedding/registry/20A1CHK052VZ9?ref=wr_search_page_result_10) Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
In many ways, art is a great leveler of personal differences among those who create it. Along with other personal factors like gender and ethnicity, the age of an artist often has little or no impact on the pure, wordless first encounter between viewer and art. On the other hand, as artists we know that many aspects of our personal lives do affect the content of our work and how we go about making it. Today we are going to talk about some effects of aging on artists and their studio practices. There are many benefits of creative activity for older people. Studies show increased morale and sense of purpose, and lower levels of depression and feelings of isolation in those who pursue forms of art as people age. Creativity contributes to problem solving skills and a sense of autonomy, and this helps older artists navigate everyday life in addition to creating art. Continuing to challenge ourselves into our older years keeps us sharp and involved in the larger world. In preparing for this episode, we considered input that Rebecca requested from various artists in their 60s and older who have had long careers in art. Some of these artists expressed feelings of gratitude for what art has brought to their lives, and the perspective of being able to look back and see how events in their careers were connected and how they have led to growth and progress. Others noted a decline in stamina, but offset by increased focus and clarity about what they want to express, and a refining of earlier goals and expectations. According to California abstract painter, Sara Post: "For me, aging has brought huge gifts—mostly in terms of freedom from—family care giving, work obligations but also freedom to pause to think more deeply about things, spend hours walking, and taking uninterrupted time in the studio—the freedom to indulge my curiosity about all sorts of things. In terms of my work itself, I no longer feel obliged to stick to a certain style, to reward the expectations of others or, really, to even give it a thought. Making artwork has steadily become a thing of the moment and of trying, faithfully, to record that." Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
A couple of weeks ago we did an episode about working in mixed media, and collage figured prominently among the artists who responded to our Facebook question about the topic. Collage interests many artists because of its potential to bring various materials, images, and processes together in surprising and expressive combinations. Today we’ll look at some of the approaches that artists use who work in collage, and why they are drawn to this way of working. Collage refers to joining bits and pieces of various sources together-- images, materials, processes, and ideas. The term usually refers to 2-D work although a 3-D surface can be collaged upon, if we use the word as a verb. Some artists use materials collected from the material world, such as paper, fabric, natural objects, bits of printed commercial culture. Other artists source collage materials from their own work--perhaps bits of old prints or drawings, or something created for the purpose of collage, such as handmade paper or prints. In any case, the origins of the materials as well as the ways they are transformed bring meaning to the work. Why are artists attracted to working in collage? As humans we take pleasure in arranging things in everyday life, and at the heart of collage is that impulse. There is freedom in the ways that materials can be moved about, placed and replaced. And it opens up new ideas for composition and presenting ideas that might be harder to reach through more involved techniques. This episode features the work and comments of two artists working in different ways with collage. Eve Ozer works with images cut from magazines and catalogs to create surreal images composed of human and animal forms, patters, and other objects. Deborah Mersky prints collage elements from a clay surface which are then arranged and rearranged to form the collages image, using botanical and certain symbolic images to create elegant and evocative compositions. Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Websites of the artists featured in this podcast: Eve Ozer: eveozer.com Deborah Mersky: deborahmersky.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
In our almost three years of recording podcasts, we have often found ourselves comparing cooking and art in terms of process and outcome. Since our podcast description includes “life in general” we thought it would be fun to move away from the messy studio and into the messy kitchen for an episode that explores the ways that cooking and creating art share aspects of creativity. Many artists excel at cooking and enjoy it as a relaxing and creative activity. The parallels to making art include the sensory aspect of working with materials, the need for creative innovation, balancing of flavors, and patience in letting things reach the perfect point of being done. Experience plays a role in both practices, as we gradually learn better to predict and control outcomes. There is also the sense of flow that a confident cook can achieve in the kitchen, moving between tasks and responding in the moment to what is needed. That feeling of control and spontaneity being in perfect balance is something many artists love when it happens in the studio. Self-expression plays a part in both the kitchen and studio, as we look for ways to create unique mixtures and processes that say who we are. Individuality shines through in either process, or two people with the same recipe can produce very different results. Intuition and a playful attitude can bring the spark that both makes food special and art unique. Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions on October 7 at 10 a.m. Central time, as part of the new membership program, and all sessions will be recorded for future viewing by members. The first introductory lesson on Oct. 7 will also be accessible free on their Facebook Cold Wax Community page. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
Working in mixed media, also called combined media, expands creative possibilities, and intrigues many artists. What materials can be used together in interesting and non-traditional ways? How can you approach the overwhelming number of potential combinations? Mixed media involves the joy of experimentation, the satisfaction of discovering new approaches, and new ways of creating meaning and personal voice in your work. In today’s episode, we will sum up some of the comments made on a recent Facebook post about the topic and talk about the reasons many artists love to work in mixed media. I took the title for this episode from a description by the artist Sara Post about her own work in mixed media. It seems to describe well the mixed media work many artists create; "quirky" in the sense of being very personal, very inventive, and uniquely expressive. One of its attractions is that of play, the sense of freedom and exploration. Working in combined media almost always involves experimentation and the development of techniques. Unless you are following someone else’s process, you’re figuring it out as you go. A pitfall of working in mixed media can be a lack of restraint or sensitivity to the various materials and ways of applying them. The result can be muddy or confusing, although an "everything but the kitchen sink" approach can work if intentional and appropriate for the idea an artist is working with. Expressing complexity or intense contrast might be well served by this approach. Some effective combinations of media include ink, gouache, graphite, acrylics and acrylic mediums, gesso, colored pencil, powdered pigment, transfer paper, wall paint, and collage elements for water-based media. Oil based media that work together include oil, cold wax medium, additives such as sand or ash, collage elements, and pigment sticks. The substrates that an artist works on can also be an aspect of mixed media. The results may be surprising when you work on surfaces such as found wood, tar paper, or aluminum. Some artists use 3-D objects as a basis for their work, developing or embellishing with other materials. Working in mixed media can be an intriguing sideline that informs other work in progress, or an artist's main way of working. It's a way of opening up new ideas and of working freely and experimentally and creating visual effects not possible with more traditional or straightforward uses of media. Please check out the Messy Studio Facebook page to see an album of mixed media images sent in by liusterners. Thanks! https://www.facebook.com/MessyStudioPodcast/photos Special thanks to Marian Sommers for setting up a monthly donation of $10. Check out her artwork at her website, http://mariansommers.com/. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). We would like our listeners to know about a big change coming to Squeegee Press, known for its award-winning book, videos, workshops, and tools - all created for artists working with cold wax medium. Rebecca and her partner Jerry McLaughlin have announced that later this month Squeegee Press will become Cold Wax Academy-- and will soon include some exciting new membership features. As part of this change, their video, Cold Wax Medium: a Video Workshop will become available as streaming content for members only. This comprehensive video, nearly 7 hours long, covers everything Rebecca and Jerry teach in a 5-day workshop and more. If you prefer to own the video, it's on sale at $250 off from now until the end of September when access will shift to streaming only. To purchase, and for more information, please visit www.squeegeepress.com and don't forget to join the mailing list for updates on all the new offerings from Cold Wax Academy. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
The materials an artist uses are one of the first things we notice when looking at art—we may see paint, clay, wood, paper, pencil, or intriguing combinations of many materials and processes. Beyond their visual impact alone, materials can also evoke feelings and ideas that add to the meaning of the work. Today we’re going to talk about materiality in art—its impact and the decisions involved in choosing art materials. As an art term, materiality refers to the importance placed on the physical aspects of a work of art, what it is made with and the ways the artist works with it. What is expressed via the materials and processes used by an artist? How do these materials and processes alone create meaning and impact? There are many ways that artists engage with materiality in their work. Sometimes the source of the material is emphasized--for example a sculpture made of found objects that themselves have distinct associations. Some artists choose to challenge the traditional heiracrchies of materials, for example using concrete rather than marble or wood in sculpture, or using ephemeral materials that are not meant to hold up over time. Certain materials or processes that have cultural significance such as women's traditional craft are sometimes elevated into a broader context of social commentary. Other times the materials and processes may be obscured so as to lead to a sense of mystery about how an effect was created. Many artists choose to work with conventional materials in established ways but even so, knowledge of the properties of their chosen media is important. Choosing how we approach materials and processes are choices we make as artists, whether or not we make materiality itself a focus. Special thanks to Marian Sommers for setting up a monthly donation of $10. Check out her artwork at her website, http://mariansommers.com/. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). We would like our listeners to know about a big change coming to Squeegee Press, known for its award-winning book, videos, workshops, and tools - all created for artists working with cold wax medium. Rebecca and her partner Jerry McLaughlin have announced that later this month Squeegee Press will become Cold Wax Academy-- and will soon include some exciting new membership features. As part of this change, their video, Cold Wax Medium: a Video Workshop will become available as streaming content for members only. This comprehensive video, nearly 7 hours long, covers everything Rebecca and Jerry teach in a 5-day workshop and more. If you prefer to own the video, it's on sale at $250 off from now until the end of September when access will shift to streaming only. To purchase, and for more information, please visit www.squeegeepress.com and don't forget to join the mailing list for updates on all the new offerings from Cold Wax Academy. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
We create our art and conduct our art careers mostly from within the bubble of our own point of view. But our reputations are important to our success and they are defined by the way other people see us. From within our own perspectives, we can lose sight of how we come across to our colleagues, collectors, students, galleries, and others who define us in the outside world. Today will be talking about shaping your reputation as an artist, and why it is important. Reputation can be a fraught topic, especially for the introverts among us who prefer not to be in the spotlight. Wondering what people think of us can trigger insecurities that go back to adolescence and young adulthood when personal reputation could seem like everything. Many of us experienced constant judging by peers and parents in those times, leaving lasting negative imprints and confusing us about what we really wanted in life. Even the desire to pursue art as a major part of our lives may have been discouraged because of fears that it could lead to a questionable image among our peers and relatives. As adult artists, reputation includes not just personal aspects, but also how others see us as colleagues and professionals. At its core, our reputation is a reflection of our authentic self, because most people cannot fake an image even if they try. But even if aspects of your personality are quirky or challenging, it's possible to navigate an art career. In fact, a unique personality can be an asset in creating an impression. On the other hand, people who are easy to deal with may find more opportunities for networking, gallery representation, and other steps up in the art world. The reputation of the quality of your art itself though is perhaps most important aspect of what people think of us. Qualities of strength, growth, consistency, and authenticity in your work will set you apart and establish the reputation of your work. We all start somewhere, but it can be harmful to promote your work heavily when you are a beginner and creating a weak first impression. Projecting confidence is important, and it takes time to develop your work to the point that you feel this in a genuine way. Though we often feel that reputation is fragile, we also have the power to change and shape the way people think of us over time. We would like our listeners to know about a big change coming to Squeegee Press, known for its award-winning book, videos, workshops, and tools - all created for artists working with cold wax medium. Rebecca and her partner Jerry McLaughlin have announced that later this month Squeegee Press will become Cold Wax Academy-- and will soon include some exciting new membership features. As part of this change, their video, Cold Wax Medium: a Video Workshop will become available as streaming content for members only. This comprehensive video, nearly 7 hours long, covers everything Rebecca and Jerry teach in a 5-day workshop and more. If you prefer to own the video, it's on sale at $250 off from now until the end of September when access will shift to streaming only. To purchase, and for more information, please visit www.squeegeepress.com and don't forget to join the mailing list for updates on all the new offerings from Cold Wax Academy. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
As artists, we love knowing that our work is appreciated by other people—whether that comes to us via exhibits, sales, awards, positive comments on social media, or simply from friends and family who respond to what we do. And even though many artists would say that recognition and validation are secondary to making the work, it can be still hard to stay motivated without some positive input. Today we’ll talk about the desire for validation alongside the pure need to create and how they can complement each other in our art practices. Many artists would make their work even in complete isolation because creating is a compulsion, a psychological need. Most of us acknowledge that pure inner drive that helps us weather times when we are not getting attention or recognition—the times in between exhibits, sales, gallery contacts, and other opportunities. That drive is linked to a feeling of validation that comes from our own inner confidence and belief in ourselves, and that is the basis from which we can seek and emotionally accept outside validation. But now, during the pandemic, many of the ways we are validated by the outside world are limited. We experience this as a loss and this loss creates anxiety about when the recognition will return. Art is communication and we long for outside validation to assure us our work is still important to others. And too, with a lack of sales, economic anxiety is compounded by the loss of validation we feel when someone buys our work. The more personal forms of recognition are still available though. Our friends, family, and even social media contacts are sources of support that we can cultivate and appreciate now more than ever. Reaching out to other artists and taking other steps to nurture our work can be very valuable in getting us through these difficult times. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
In a recent podcast, we talked about the remark often made about abstract artists --” my kid could paint that.” But there are lots of other things people say to and about artists that show a lack of understanding or even hostility toward art. When these happen in conversation, they can create some awkward moments. Most of us tend to feel defensive when this happens, and we can miss an opportunity to elevate the conversation. Today we’ll talk about some of these common remarks, consider why people make them, and ways to handle them gracefully. As artists we’ve all had these moments. Sometimes, what we hear is an innocent question with a complicated answer, for example, “how long did it take you to paint that?" --when clock time is not the issue. Sometimes a question or remark comes across as aggressive, as when people ask about the price in order to look askance when you answer. Or an observation like “it must be so fun to just paint all day” can come across as “how nice to do whatever you please-- most of us can’t do that.” Most remarks are well-meant though. People who know little about art are usually just trying to find a way into the conversation, as we all do when trying to understand another person's profession that is unfamiliar to us. But many times, a remark that indicates basic ignorance of our work can seem offensive and awkward. If we make an attempt to move the conversation forward, though, it can be an opportunity to help the other person understand. It's easy though to feel misunderstood or hurt. Sometimes artists consider remarks critical or insulting but from an objective point of view are simply misinformed or out of context. Many times these remarks are much more about the person making them than about the artist. They are attempts to relate the artist's lifesto their own experience and as such, they should not be taken personally. Take opportunities to educate people when you feel there is an opening for a more elevated conversation and use compassion and humor to do so if you can. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
Saying that an abstract painting is something a preschooler could do sounds like the ultimate putdown for abstract art. It implies that abstraction is a scam, meant to fool the viewer into thinking it has actual importance and ridiculing the fact that it is sold for thousands of dollars. It also denies that it takes effort, skill, or seriousness to make the work. But can that same remark be viewed in a positive light instead? What do we lose as adult artists that children have naturally, before becoming self-conscious about their work? And is child art really the equivalent of adult work? We're talking here about gestural, expressionistic abstraction like the work of Cy Twombly, and Jackson Pollock. Obviously, there are many other kinds of more cerebral, controlled, and planned abstraction that would be less likely to elicit the disparaging comparisons to child art. But the idea persists with expressionistic abstraction that it is some kind of joke even though it has been practiced widely for decades and holds a significant place in art history. Are child art and adult art actually interchangable? In a Boston college study done in 2011, people with no art background were asked to distinguish between child art and abstract expressionist adult art. They answered correctly in numbers significantly better than chance. The conclusion was that most of the time, we can sense intentionality and structure in an adult painting that distinguish it from child art. Children, with their fantasy-oriented, unselfconscious approach, simply have other concerns. Another question to consider is is why spontaneity and intuition are undervalued in abstract painting when those same qualities are respected in forms of art such as jazz, and improv theater. To be able to respond to emotions and materials in a fluid, natural way is actually a challenging skill to learn for adults. As Picasso famously said, "It took me four years to paint like Raphael, but a lifetime to paint like a child." Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
Along with color, texture is one of the most evocative visual elements, engaging not only our eyes but our sense of touch—as well as our memories and associations. Many artists seek out ways of creating texture and consider it one of the most important aspects of their work. Yet because it is such a powerful element it needs to be used thoughtfully, and often with restraint. How can we use texture most effectively in our work, allowing it to take its place with other visual elements without overpowering them? What are the special qualities of texture that can be used to enhance our work? Texture is problematic when it is an end goal and not a means to an end but created without meaning or intention. Texture for its own sake alone can lead to a superficial and non-cohesive painting. On the other hand, it can work well as a prominent feature but needs to be part of an overall concept. What do the textures you are interested in evoking? How can you use them as part of a larger idea? Texture falls into two broad categories--actual, physical texture that can be perceived by touching, and visual or illusionistic texture in which we read something as having physical texture, but in fact the surface of the work is smooth to the touch. Each has its own distinct qualities and uses, and the combination of both in the same work can create intriguing contrast. Either kind of texture can be bold or subtle, organic or mechanical in appearance, and referential or not (whether how it is made has meaning in the painting.) Texture is a powerful element that when used in a thoughtful, intentional way can bring strong meaning and associations to your work. Like any other visual element, consider its relationship to overall design and to your source ideas and intentions. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
A theme in all of our podcasts over time has been encouraging artistic growth. To us, growth is a given, something all of us strive as artists and as people. But what does it really mean to grow artistically and why is it important? What can you look for in your work to know if it is growing? Today we will look at what growth means in our studio practices and share thoughts about its importance. The need for growth is embedded in our human psyches, and we all experience immense growth as children and as young people in every aspect of being. At a certain point, however, continuing to grow as artists can become a challenge. Instead it is easy to become complacent in doing what we are good at and what has brought us recognition and success. Yet an honest appraisal of our growth is energizing--offering new ideas and a deeper understanding of past work. Growth is also important to those who admire and collect our work. While not everyone will appreciate every stage of our work, a reputation as someone unafraid of change is positive. Growth often encompasses elements of past work. So re-visiting past acheivements and exploring paths not taken are good sources of ideas. In the time that has passed since that work, you will have learned a great deal through practice, or an intentional focus on things like use of color or composition. Coming back again to important ideas in new ways is a good sign of growth; these core interests provide consistency as well as variety and expansion. Another sign of a growing artist is a willingness to take side trips into other media or subject matter. These forays can build on one another and contribute to your overall body of work. Intuition plays a role in this--following impulses toward doing things that don't seem related can reveal their importance later. The desire for forward motion is part of the human condition but we are all free to interpret that in different ways, and we should understand our issues and limitations without berating ourselves. Growth has its own logic and timespan so it does no good to compare ourselves to others. Progress will happen almost inevitably, but fully embracing change and growth can have a powerful impact on your work. Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
We were all curious as children and many artists retain that trait as vital to dynamic art practice. Yet curiosity can be fragile, disappearing in the face of information overload or the desire to seem knowledgeable and in control. To be curious, to wonder, to explore –all are aspects of ourselves that keep us young, with room to grow. Today we will look at how to nurture curiosity in your art practice and the importance of exploring and wondering, in art and in life. During our current COVID-related shut-down, many artists are feeling free of gallery pressures and deadlines and are experiencing exciting growth in their work. But others feel stagnant, or reluctant to move on from an approach that has served them well in the past. By not exercising curiosity, they may be blocking ways to overcome these obstacles. Some of the most successful artists are life-long learners, always curious, investigating new ideas, and reaching out to other artists for reciprocal conversations. They ask "what-if" questions of their work and are willing to take risks in the studio trying out new media and following their impulses. They are open to change and input. They track their ideas over time, sometimes returning to paths that were abandoned earlier with fresh perspective. And they think of ways to integrate new information, techniques, and materials into their current and developing work. Unfortunately, other people tend to shut down curious impulses, or immediately look to others for answers rather than figuring out what they want to know. Or they may fear looking ignorant or incompetent. As a result they close off some of the true joys of creating--discovery, honoring impulses, and the pride of independent accomplishment. If you sense a lack of curiosity in your own attitudes, consider what is holding you back. It is easy to fall into habits that cut off new information. We may fail to apprecaite what others have to offer, or resist doing our own investigating when we have a question. Curiosity is a muscle that needs to be exercised. Curious artists have a big advantage in their art practices, remaining energized and growing in their work. Knowing how to obtain new information and recognizing what may impede your own curiosity can be important steps in opening new pathways in the studio. Our ad break in this episode is from artist Elizabeth Schowachert, who offers beautiful handmade brushes and specialized art tools on her website. Please visit: https://elizabethschowachertart.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link: www.messystudiopodcast.com/blick The Messy Studio Podcast is a CORE Publication MGMT production.
Artists need to edit, too!. Of course, we’re all familiar with the idea of editing as it applies to writing. It is often said that every author needs an editor to make sure that their writing is technically correct, cohesive, and impactful. But as visual artists we don’t typically involve anyone else in that kind of role --it's up to us to do it ourselves. Today we will talk about editing our work for stronger and more consistent results and point out that it need not be a chore or necessary evil. Why is editing so important for us as visual artists? Editing brings clarity to our work and allows our viewers to enter without confusion. It is a powerful tool to emphasize our intention and purpose. Editing our work with a clear vision helps provide cohesiveness within a series or a larger body of work. With all its benefits, why do many artists resist the idea of editing--that is, removing parts of their work that don't contribute, or not pushing on with additions or changes that could be helpful? A common reason is becoming overly attached to certain parts of our work that we see as exceptional. -- a particular combination of colors, a beautiful mark or texture. We hate to get rid of them, even if they are distracting have a random look. Also, settling for "good enough" can seem very appealing, when you know that one small change may lead to many more, and you may find yourself almost starting over. It can be easy to rationalize keeping things that will be difficult to correct. Yet taking the easy way in any of these situations weakens the work and limits your growth. How can editing be enjoyable, energetic, and exciting? By making it integral to your process and editing with energy and spontaneity throughout your work sessions. Long deliberations, hesitations, and second-guessing yourself are what make it seem like a chore. Listen to your intuition and don't be afraid to make a decisive move, and proceed with positive energy. As with writing and other creative endeavors, early drafts of a project are seldom as strong and satisfying as what you develop through edits and changes. Ross mentioned Stanley Kubrick's "The Shining" in this episode. For more info on the depth and complexity of Stanley Kubrick's visionary horror masterpiece check out the documentary, "Room 237". https://www.youtube.com/watch?v=gL1fTlH81gU Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio Podcast when you buy art supplies from Blick! (https://www.dpbolvw.net/click-9232279-11904529) The Messy Studio Podcast is a CORE Publication MGMT production.
When artists collect, it’s often --but not always --related to our art practices. We tend to collect works of art that we’ve bought or traded for, art books, memorabilia like announcements and posters, and of course, art supplies. But what about the more unexpected things we gather in our homes and studios? What do our collections tell us about ourselves and our attraction to certain kinds of objects? Today we’ll report on what some artists had to say when Rebecca posed the topic on Facebook, along with our own musings about the meaning of collections. Collecting can be seen as a creative activity in that there are connections to our playful selves and to lifelong interests, and what we collect can illuminate our personal interests and character. Visually, we enjoy the similarities and differences in the objects that have a relationship to one another, and enjoy arranging and displaying our collections. Writer Lydia Yee sees collecting as an extension of the childhood urge to bring objects together, to "explore, understand, and organize the world" which artists seem particularly drawn to as an activity. In response to our query as to what artists collect, the responses range widely but natural objects were the most popular objects by far. These include rocks,bones, feathers, leaves, shells, insects, and more--it seems that many artists can't resist picking up what artist Emely McConkey called "special gifts" from nature. Some artists use these natural objects in their work in some way, while others just like having them around. There is also a strong attraction for lots of artists to objects affected by natural processes like weathering, such as beach glass, driftwood, and rusty metal. Other collections that artists mentioned are comprised of whimsical, historical, or symbolic objects. What quirks of our personalities lead us to certain objects? Often there is no apparent relationship to our studio work, yet collections may express longstanding aspects of our interests and personalities. While collecting may not strike you as a creative pursuit,t looking at it in this light may bring insight into your personal hstory, voice, and desire for play. mentioned in the podcast: Joanna Kidney https://www.joannakidney.com Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Support The Messy Studio Podcast when you buy art supplies from Blick! (https://www.dpbolvw.net/click-9232279-11904529) The Messy Studio Podcast is a CORE Publication MGMT production.
We often say “That’s beautiful” in response to a work of art, but the word beautiful can have many meanings. Most of us recognize it as a heartfelt compliment when it is said about our own work, but we may wonder what specifically prompted the viewer to use the word. And while we may strive for beauty in our work we may have not thought much about what that means. Today we look at what deeper ideas or responses the words “beauty” and “beautiful” can hold. "Beautiful" has a strong impact coming from a viewer of your work, but what the person is actually saying or responding to is usually ambiguous unless they go on to clarify. Perception of beauty is subjective and could be prompted by any of various aspects of the work as well as its total impact. And of course, what one person finds beautiful in your work might strike another person as unappealing. Beauty is powerful and unique in its capacity to satisfy both the eye and the mind, and often the emotions as well. It may be defined as the quality present in a thing or person that gives intense pleasure or deep satisfaction, arising from our senses , thoughts, or emotions, and encompassing depth and meaning. While "pretty" when applied to art is often thought of as superficial, pleasing the eye only, or relying heavily on sentiment, beauty is a wider concept that can address more difficult aspects of the human condition. These may not not beautiful in themselves, but the artist can express compassion, understanding and humanity in ways that are powerful. Beauty can contain wildness, mourning, anger, and pain. It can be dark and moody as well as uplifting and transcendant. In this sense, beauty and truth are connected; both can express any sincere emotion or response. What does this mean for an artist? What is your own truth, your own beauty? Is it simple, complex, somber or bright, geometric or organic? How can you explore what you find beautiful in ways that will draw your audience in, give them something to think or wonder about, or respond to in unexpected ways? Are you willing to push past the pleasing aspects of "pretty" into work that challenges rather than only pleases the eye? This episode is sponsored by Multimedia Artboard. Use promo code "MESSY" at checkout for 30% off! https://multimediaartboard.com/ For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio Podcast is a CORE Publication MGMT production.
A key aspect of establishing your personal voice is figuring out what is most important to you in your work. What do you want to communicate to other people? What responses do you hope to evoke? The process of defining these intentions can be challenging, involving some basic but important questions, and may take some time to process and refine. But clear intentions are a powerful tool. Today we will look at the process of clarifying your intentions and the advantages for doing so. Intentions both describe and create our experiences. They express who you are, your core selfas well as the desire to continue with your ongoing concerns. Writing intentions down can be a powerful exercise, helping you to establish and integrate what you most want into your practice. The act of writing can set these concepts in motion even below conscious awareness. How can you arrive at a list of intentions? This requires some introspection, including deeply observing your own work, that of others you admire, and asking yourself how you would like viewers of your work to respond. The process may take a while; some ideas may come to you imediately, in an obvious way, while others require contemplation. Intentions should be broad and not feel limiting--opening up ideas and new directions over time. It's also fine to have some that are closer to goals than actualities, because intentions are for the long haul. Shorter term goals and intentions can also be developed as an aside for specific projects, but the core list should be something that provides guidance, and allows for flexibility and new ideas over time. Intentions provide many benefits in a practical sense. As a framework for statements about your work, they enable you to write and speak clearly. They also help with self-critique and to stay on track in pursuing ideas. They can refresh your sense of what you want when you are blocked creatively, and aid in your self-esteem and identity as an artist by giving you a sense of control over your art practice. We hope this episode will help you create your own list of intentions or--if you already have one--reaffirm its importance in your art practice. This episode is sponsored by Multimedia Artboard. Use promo code "MESSY" at checkout for 30% off! https://multimediaartboard.com/ For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio Podcast is a CORE Publication MGMT production.
This is a topic that we have considered covering for a while. It dovetails nicely with past episodes addressing what inspires and motivates our work. But it seems especially relevant now given the worldwide pandemic and recent social unrest, which have many artists thinking deeply about the meaning and honesty of their work. Being authentic in your work means being true to yourself, and unafraid in your creative explorations. During this time when we are experiencing massive changes all around us, examining how authentic we are being in our work can lead to new insights and growth. The more challenges we are facing in life, the more important it becomes to bring our whole selves into our work. This results in better work and a better mental state. It sounds simple, but understanding our true desires can be difficult and confusing, and forces us to be vulnerable. Being authentic in our work may require us to explore aspects of ourselves that would otherwise remain hidden. At the same time, it's good to acknowledge your natural inclinations as strengths. Work with these impulses rather than against them, but try to recognize when they are holding you back. This doesn’t happen overnight. Like all processes in our work authenticity takes time and an open mind to develop. You may find yourself wanting to explore work that is a complete deviation from what you have done in the past. Going in new directions involves experimentation that doesn’t always work, and can be frustrating. Sometimes, these are important impulses to follow, and other times they are the result of an urge to please others or emulate what we like about another afrtist's work. Our lives are dynamic and our work needs to change as we do. Being authentic is an ongoing challenge to bring out what is true and sincere. It means being very honest with yourself about who you are, and what motivates, inspires, and influences you. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
Scale is an aspect of visual design that is perhaps the easiest to overlook. This is because there is a default mode that generally works—that is, medium sized works of art, and imagery that fits in expected ways within those boundaries. But challenging habitual ways of using scale can be an exciting path. As viewers, we notice immediately when someone steps outside the expected and calls attention to scale. Today we have some thoughts about using scale in dynamic ways. When considering scale, it's good to consider both the unique aspects of small, medium and large work and whether the scale of your own work is a good fit for your ideas and imagery. Each scale involves you as the creator and your viewer in different ways. How would you like the viewer to be involved in your work--up close or from a distance, or both? How important is boldness or delicacy, and at what scale are those best expressed with your way of working? There are also practical considerations for each scale. From small work--usually inexpensive to create and easy to store and ship, but often requiring framing--to large work which can be cumbersome, expensive to create, and hard to store and ship. However, larger work also has a higher price point and more impressive presence for the viewer. Finding solutions to practical issues is not impossible though, and this too can be an excercise in creativity. Many artists use a medium scale for both practical and conceptual reasons. But this size presents its own challenges for the viewer, because on its own it draws no special attention to itself. We are surrounded by objects of similar sizes in our homes and though this makes medium scale fit into most environments, it also may make a painting simply part of the decor rather than something that is set apart and special. Giving thought to the scale of your work is an important aspect of aligning form and content. Have you fallen into the habit of always working on the same scale? What new ideas or ways of expression might result from pushing the scale at which you work, going either smaller or larger? Lisa Pressman's Videos: https://www.lisapressman.net/teaching-videos/ For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
We touched on today’s topic in our last episode when we went briefly over through some important design elements. Basically we were talking about composition—how to arrange the visual elements on a 2-d surface so that they “work.” This is complex because each aspect of a composition affects others in subtle or not so subtle ways. Even a small change often necessitates revision in other parts of the work. In this way, composition can be thought of a problem-solving, whether it is figured out in advance or during the process. It is important to not settle too quickly on your composition. Poor composition is perceived by viewers right away, causing a feeling of confusion, imbalance, and a sense that the artist has lacked intention. As the entry point for your viewer's attention, a good sense of organization and structure is essential. Although it is often a only minor addition or change that brings the work together, finding that last decisive move may require a lot of patience. While intuition plays a role in finding good composition—an arrangement simply “looks right”—for strong and consistent work we also need a more intellectual understanding. Having a flexible and developed visual vocabulary and an awareness of design principles are important for creating and evaluating your compositions. Being willing to edit, or remove unnecessary aspects of your work, is vital. Feedback from another person is often helpful too, since we can lose sight of the big picture while immersed in the details. Composition is so challenging that many artists settle into one approach that works and stay there for years. It can be hard to step away from something you have developed. But remember that compositions convey meaning, and if you don’t allow them to change over time, your meaning becomes overstated. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
Learning to use the visual elements and design principles in your work is often compared to acquiring vocabulary and then being able to use those words to communicate. It also means being able understand better what other artists have to say in their work. This understanding is basic and contributes to your growth for your whole artistic life. It also grows in tandem with intuitive responses and understanding. Yet many artists do not progress much beyond a limited vocabulary, used in only a few repeated combinations. Today we will give a perspective on the benefits of growing your visual vocabulary. It’s hard to progress as an artist without a good understanding of the basic concepts of the visual elements and design principles. Although learning about the visual elements and design prinicples can seem academic, a working knowledge of these widens your range of ideas, helps you to evaluate your work as you go, and helps establish personal voice and direction. Basic concepts are vital at any stage, and even very experienced artists benefit from revisiting them often along with changes in your work. So many aspects of art involve balancing different approaches, and it's important to note that intuition plays as much a role in manipulating elements of our work as does more objective knowledge. Knowledge itself is not inhibiting. It leads to understanding that is implanted in your creative approaches, a basis that once solid you can step away from more easily. Explore what works for you, starting with your natural inclinations toward particular elements and compositions. It is an exciting journey involving an infinite number of combinations and interactions, As a beginner, you can learn about the visual elements (line, color, value, shape, and texture) and the design principles (which describe ways of combining the visual elements into compositions) in many ways. You can find resources online, in books, and in workshops or classes. But practice and exploration in the studio are essential. Working not only with the elements and prinicples that appeal to you strongly but also those that are more difficult offers a lifetime of creative challenge and oppotunity. For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio is a CORE Publication MGMT production.
It can be very unsettling to put your work in front of someone else for a critique. We may fear harsh, judgmental comments. Yet the value of critique is exactly that, the chance to gain an outside perspective and insight, and very often criticism can be given and received in a supportive way. Today we’ll talk about the positive aspects of critique as well as handling negative criticism with regards to our work. First, let's distinguish between the meaning of the words, critique and criticism. The definition of critique is “a detailed analysis”, or as a verb “to evaluate.” This implies an objective point of view, not an attempt to find fault. Criticism has two meanings, One is “the expression of disapproval of someone or something based on perceived faults or mistakes.” The second meaning is “the analysis and judgment of the merits and faults of a literary or artistic work.” This meaning when applied to an art form includes positive as well as negative aspects, with an emphasis on judghement on the part of the person delivering it. The kind of criticism that hurts or stings, seems unfair, or completely off base is not likely to be of value. It probably springs from the other person’s ego or bias, or perhaps from a lack of understanding of your intentions. It is often one-sided and opinionated. Destructive criticism can have a powerful impact and unfortunately we tend to give negative comments more credit than the positive ones. But if what someone tells you seems true on some level, and has a basis in objective observation, critique can be extremely helpful. And critique is not limited to simply passing judgement. It is a way to delve into what you want as an artist especially if you seek it out when you are ready to engage with it. In addition to pointing out problems, a knowledgeable observer of your work can enable you to see things in a new and exciting way. Critique is best if it is a conversation and not a monologue in which you have no chance to respond and engage. It is also helpful if you establish some parameters ahead of time--deciding what you wish to show, setting the stage for a proper focus, and giving thought to what you hope to gain from the feedback. At the same time, being open and allowing a critique conversation to evolve and flow in accordance with the other person's thoughts may bring surprising and positive insight. Today's Episode is Sponsored by Multimedia Artboard: https://multimediaartboard.com/ Check out their Memorial Day Sale and use promo code GOPAINT at checkout for 30% off! For more from The Messy Studio: www.MessyStudioPodcast.com www.facebook.com/MessyStudioPodcast For more from Rebecca Crowell: www.RebeccaCrowell.com www.SqueegeePress.com The Messy Studio Podcast is a CORE Publication MGMT production.
As we record this episode, a few months into the COVID-19 pandemic, there is much we don’t know—what the situation means in our own lives and in the world at large, how long it will last and what we will endure before it is over. How can our art practices help us through this difficult and anxious time? Today our podcast includes thoughts from two art therapists, Mimma Della Cagnoletta and Barbara Bagan, who generously shared their ideas about this topic via email. Artists are often said to be highly sensitive people. Being vulnerable, introspective, thoughtful about what we experience are all personality traits that help bring meaning and emotion to our work. But those same qualities can also cause us to be more unsettled than others around us. Are there also experiences we have as artists that can be helpful to us now? Artists are no strangers to uncertainty. We face it in the creative process every time we’re in the studio. This uncertainty is not comparable to the terrifying influence of the pandemic, of course. But we’ve been training our thoughts and emotions, often for years, to deal with the unknown. In fact, a characteristic of creative mindset is ability to deal with ambiguities and situations that are not clear-cut. Many of us are wired to adapt, and to bring our responses to difficult times into our work. As difficult as it may be, studies show that there are long-term benefits to facing and working through our emotions during trauma. These benefits include enhanced creativity and other kinds of personal growth. As Mimma Della Cagnoletta put it, “we know that making art is resilience in itself and affirms human capacity to deal with ‘the brutality of life.’” To quote Barbara Bagan, "Art plays a variety of therapeutic roles. Throughout history when going through intense experiences, especially where there are anxieties around mortality and what life really means, people turn to art. They turn to making art and beholding art. Accepting this current situation, even though we do not like it and rejuvenating ourselves in whatever ways we are comfortable with and creating again are what artists do." Article referenced in the podcast: https://blogs.scientificamerican.com/beautiful-minds/post-traumatic-growth-finding-meaning-and-creativity-in-adversity/ For more from The Messy Studio: www.MessyStudioPodcast.com www.facebook.com/MessyStudioPodcast For more from Rebecca Crowell: www.RebeccaCrowell.com www.SqueegeePress.com
If you have ever had a really good art class, whether in school or a workshop, you probably retained some real gems of wisdom from the instructor. These may be specific things that were emphasized, or their overall teaching philosophy. These positive ideas and words have the power to shape our studio practices for our entire creative lives. We reached out to some art instructors, all friends of the Messy Studio Podcast, to ask them to share their insights and approaches to teaching, as well as how they motivate and inspire students to find their own direction. Teaching art is a work in progress, and most instructors see their messages evolve over time to be more supportive of students, as well as more challenging. The best art instructors have years of experience, and know what it takes to find a meaningful path because they have traveled that path themselves. Other instructors,however, have only enough experience to come up with something that works, and they teach in a formulaic way. They know what is true for them, but not how to help others find their own way. Meaningful art comes from personal experience. Teaching individuals involves guiding them to draw from their own well of resources, and requires the instructor to understand approaches other than their own. Students do need basic nuts and bolts information. However, they also need a wider context that goes beyond a one-size-fits-all teaching style. We asked several friends, colleagues, and former guests about their teaching approaches and advice and invite listeners to recall words of wisdom from their own art instructors. For more from The Messy Studio: www.MessyStudioPodcast.com www.facebook.com/MessyStudioPodcast For more from Rebecca Crowell: www.RebeccaCrowell.com www.SqueegeePress.com
Many artists are feeling stuck right now--not only in their homes in the midst of the COVID-19 stay-at-home orders but stuck in their work as well. We not only contend with our own worries and struggles but the constant drumbeat of bad news from the media. Our usual ways of working may no longer seem suited to what our lives have become. Historically, art reflects the times in which it is made. Today, we are considering this aspect of creativity in light of what we are all experiencing. The way in which we handle the current situation creatively can also be applied to other traumas that we experience in life. Artists usually consider personal voice to be a concentration of focus that carries us along. It helps others understand what it is that we are communicating. A consistent process, point of view, or approach is achieved through a mastery of technique and a deep, ongoing interest in particular ideas. Traumatic events can disrupt this flow, and change our focus. Now may be the time to loosen our concept of what constitutes our crative voice, and allow for different aspects of ourselves to come forth. Artists may wish to resist this natural change. There is so much disruption in life without having to completely change artistic direction. This change may also feel like a threat to the personal voice that has been developed through years of work and refinement. Or, in a positive light, our ongoing work may be something that can encompass the new reality, perhaps offering viewers something uplifting or comforting. This may, however, be the perfect time to explore something new as part of our ongoing journey. Art is a calling, and acknowledgeing that helps connect us with our roots, when we first started making art. For many us it is also a therapy, and during difficult times having a creative outlet may be more necessary than ever. This creative outlet does not need to be related to your current art practice, and can be purely an escape. The art you create at this time may never be shown to anyone else, but it may reveal new insights. Article referenced in this episode: https://www.sothebys.com/en/articles/for-the-love-of-art-alain-de-botton-on-art-as-therapy?fbclid=IwAR3BCqbEobPi7JXmEP_Ym0xYCA1QCVZnAp7xrd2KmyXzZy8kQeqL4QTJdUs For more fromt The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
For the last several weeks we have faced an unknown and invisible enemy. COVID-19 has disrupted large portions of the international economy and thrown millions into unemployment. As artists we face these same challenges. Our galleries have closed, our workshops have been cancelled, and we have no idea when (or if) things will return to “normal”. However, we still have at our disposal the most powerful marketing and sales tool ever created. The internet is a way of selling art that many of us have ignored until recently and have no idea how to use properly. In the midst of economic chaos, it is crucial to learn to use the internet in ways that will help us sell more artwork, now and in the future. To explore some of the fundamentals of online marketing, we invited marketing professional Dave Geada to join us on the Messy Studio Podcast. What he taught us is deceptively simple: tell your story. We all have one, though we may not realize it. Dave emphasized that when people buy art, they are buying not only the work itself, but you and your story. That personal connection can make all the difference in a decision to purchase. Stories are like any other form of art. They contain essential elements that, when properly composed, are satisfying for the audience. In much the same way that a painter uses line, color, shape, form, value, texture, and space to create a painting, a storyteller uses characters, setting, plot, conflict, and resolution. A basic, archetypal storyline involves a hero/heroine who faces a villain (a person or other obstacle) and then triumphs with the help of a guide. This basic storyline can be applied to any person’s life and struggles. In the story of today's episode, our hero is the artist who faces the villain of COVID-19 and, with the help of a guide, learns to use the internet to sell their art. Our guide on today’s show is Dave Geada. He’s the CMO at[ Boldbrush (www.boldbrush.com) and has over 20 years of experience in technology and marketing. The interview provides some basic tools to start generating more art sales online, but if you want to learn more check out the special offer he has provided to Messy Studio listeners. To take advantage of Dave Geada's special offer for Messy Studio Listeners: https://l.faso.com/72 For more from the Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopocast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio is a CORE Publication MGMT production. Special Guest: Dave Geada.
Many artists working in both realism and abstraction explore ideas or emotions through the lens of unique or moving aspects of a particular place. This place may be as close as the artist’s own backyard, but it is often more distant. At this time we are encountering many challenges in our daily lives due to the COVID-19 pandemic, including being unable to visit the places that motivate our creative processes. Nationwide “stay at home” orders are restricting our movement, but even in normal times we may still be unable to visit these places at will. Many of us have had travel opportunities, including artist residencies, that focus our attention and introduce new ideas while we are away, but the experience may seem inaccessible once we return home. How can we keep our connection to these places and allow our time there to keep influencing our work? Memory is a great distiller of experience; working from memory can encompass visual imagery as well as emotions. Photos of special places may also be useful, but working in a literal way from photographs can be restrictive, leaving out emotions and subjective interpretations. But used as a point of departure, photos can trigger ideas. The same can be said for sketches, notes and objects we bring home. Sending time researching interesting aspects of where we have been can also being conceptual depth to our work with place. As we continue to work while sequestered in our homes, remember that this too will pass. While we do need to reconnect physically from time to time with places that are important to us, there are many ways to nurture that connection and continue to work with what we love about these places from a distance. Stay safe, everyone. For more from The Messy Studio: www.messystudiopocast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
Even under difficult circumstances, humans have always had a strong urge to create, to make things that embody thought, emotion, spiritual and cultural beliefs. Creativity has made us unique as successful as a species and is rooted in our origins when early people first created fire, smeared ash and pigment on the walls of caves, planted gardens, and began changing and controlling their environment. Those of us who work in fine art media have a drive to create even when there is no practical purpose for what we make. This urge can range from the occasional desire to a very strong passion, an almost uncontrollable compulsion, and often ebbs and flows within an individual. But like the pilot light in a gas stove, it is always there. Sometimes it is nearly dormant or burning at a low but steady lower level while other times, under the right circumstances, it is strong and continuous. Like so much in art, introspection has a place in understanding your own creative urges and what is true for your work and process. Allow your creative expression to be what it is, rather than what you feel it should be. Sometimes we are distracted by thinking art should please others or play a specific role in our lives that does not ring true. There is no right or wrong in creative exploration or correct path that you “should” take. Many artists over time have put into words their own understanding of what is important in creativity, and these can provide inspiration and insight. But a range of quotations will also point out the very diverse and personal nature of creativity and how artists find meaining in what they do. A particular artist's words may strike a chord, but they only represent that artist's particular path. It can take a lifetime to understand our own motivations, but any insight gained can break down barriers and blocks on our creative journey. Books refernced in this episode: How Painting Holds Me on the Earth; Leigh Hyams (Black Mountain South Press; San Miguel de Allende, Mexico, 2008) The Artist's Voice; Katherine Kuh (Da Capo Press, 1960) Artists mentioned: Paul Cezanne Edward Hopper Franz Kiline Helen Frankenthaler Mark Tobey Isamu Noguchi Georgia O'Keefe Piet Mondrian For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio is a CORE publication MGMT production.
One of the challenges of maintaining a creative practice is keeping focused in the studio; it can seem like daily life is constantly pulling us in other directions. This podcast was recorded before the COVID 19 pandemic, and for many artists, focus has become more important than ever as a way to lose ourselves in our work. Yet even if we have time to work, it can still be difficult to find a rhythm and path to follow. Merriam Webster Dictionary defines focus as “a point of concentration, or a state or condition permitting clear perception or understanding. As a verb, to concentrate attention or effort.” Focus is a powerful force that brings with it excitement and momentum. It is also a relative term,; perfect focus during studio time is an ideal state that is not easily, if ever achieved. But there are strategies to limit distractions and increase our ability to focus. For many people, this starts with organizing a to-do list, then setting priorities and a schedule. While this kind of organizing works, it needs to be considered in light of your own work habits and energy levels, and also should include the othernon-art related things you need and want to do. In aiming for a holistic, integrated view of your time, you can count on your studio hours while not neglecting other aspects of life. A key to fthis approach to focus is giving smaller blocks of time to specific activities. While many of us cling to the idea of an 8-hour workday as ideal, in fact most people take about 15-20 minutes to achieve focus and enter a flow state, and then can maintain productive work for only a few hours. So your blocks of studio time, and the time given to other aspects of life, should be whatever works best for you, not the length of time you think you "should" be working at them. By working intensely for a few hours, then shifting to something else, your time can be more productive and energized. Focus is so often thwarted by outside forces, some of which are beyond out control, and some of which we can limit by asserting our needs as artists. These distractions may be internal as well, however. Sometimes it is difficult to separate outside factors from internal struggles. It can be easy to blame yourself when you go off track, but be kind to yourself. We're affected by everything that happens in our lives, and there will be times when focus is elusive, another of the many ups and downs of the art life. If you;re struggling with focus, consider what works best for you, rather than trying to attain an ideal. Making some changes in that direction can ease your mind and allow focus back into your art practicve. For more Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio Pocast is a CORE Publication MGMT Production.
Rebecca interviews Irish writer Henry Martin about his book, Agnes Martin: Pioneer, Painter, Icon, discussing her life, character, and work. About this biography, museum curator Jina Brenneman wrote “No other book on Agnes Martin has been researched as thoroughly and honestly as Agnes Martin: Pioneer, Painter, Icon. Its sensitive and poetic nature makes it a must read for those truly interested in understanding the artist.” More from Henry Martin: http://www.henry-martin.co.uk/ https://www.instagram.com/henrymartinhm/ Buy Henry Martin's book: https://www.amazon.com/Agnes-Martin-Pioneer-Painter-Icon/dp/1943156301 "Paint With MJ", a free Facebook painting class for kids of all ages, started by a listener of the Messy Studio Podcast: https://www.facebook.com/groups/2882448618445044/ For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio Podcast is a CORE Publication MGMT production. Special Guest: Henry Martin.
When the news media first mentioned the coronavirus spreading through China, few of us in the rest of the world realized the huge impact it would have. A few months later we face quarantines and severe economic consequences and many of us are facing isolation, boredom, and anxiety, as well as financial stress. In this episode we address how the current measures implemented to contain COVID-19 have affected our lives as artists, as well as ideas for coping in this time of uncertainty and change. Currently Rebecca is in quarantine in New Mexico, fortunately without symptoms. She did have to cut her time in Ireland short and return to the United States before the suspension of international travel. This meant canceling a workshop, an important source of income, and spending the next two weeks confined to her home. Like many other artists, she has also canceled other upcoming workshops and travel. The pandemic now affects every aspect of our lives as artists, from the postponed or canceled events and galleries on the economic brink, to the need to shelter in place, possibly apart from our studios, and the loss of personal contact with other artists. It can be hard to focus on our work when we are feeling anxious and distracted by the constant flow of bad news, and worries about ourselves and our loved ones. There is much about the current situation that is unknown and beyond our control. But concentrating on what we can control, including our attitudes is the key to staying mentally healthy. Even though many things now seem hopeless and frightening, there are also positive aspects to the situation on which to focus. Acting in generous ways, thinking of how to help others, and realizing we're all in this together can all help with remaining on track. For many of us, a spiritual component is critical to maintaining the right attitude to survive and thrive in the midst of a catastrophe. Technology is a help in many aspects of what we're now dealing with, and spirituality is no exception. Whatever your spiritual philosophy, there is an app that will send you daily devotionals, meditations, or affirmations. Spend some time every morning reading these rather than the latest COVID-19 news. This will set the tone for the rest of the day. The news is important, but it can wait a few minutes. As artists we are very fortunate to have the commitment to our work to help us in this time of isolation. Some of us are lucky enough to have ongoing access to our studios, but if not it may help to remember times when you created in less than ideal circumstances, as most of us did starting out. We can value the chance to catch up on projects, do some online learning, or delve into some idea that has been on the back burner. For many of us, our time in the studio is now our own, without the need to prepare for upcoming exhibits or meet other outside demands., and there is a certain freedom to that. We may also be able to catch up on projects that have fallen by the wayside. because we don’t find them very fulfilling, like bookkeeping or cleaning; clearing out a backlog of such chores is a good feeling. Besides more time in the studio, many of us also have more time with our families. Try to establish a routine to help you make the most of this time, including as much time as possible to your art. Adjusting to working in your studio while caring for school aged children who are now at home will be difficult, but there are many educational resources online to help. Your kids may also enjoy making some art with you, and learning about what you do. Financial difficulty will hit many of us and create a great deal of anxiety. One suggestion is to develop a new income stream related to your art practice now, such as an online course, a mentoring program, or instructional video series. An art course aimed at children might be especially appropriate at this time. Think about what your specialized niche might be and have confidence that most artists have an insatiable thirst for learning and improving. While it will take weeks or longer to develop something worth charging for, starting now is a smart move. Even the isolation imposed by COVID-19 ends soon, we'll be feeling the economic strain for some time. We are all currently faced with enormous changes and challenges, and it's all happening fast. Some people will sit at home, hypnotized by the television, waiting for this all to be over. But others will use this time to improve their work, improvise with what they do have, and address neglected aspects of their lives. To quote the late Toni Morrison: "This is precisely the time when artists go to work. There is no time for despair, no place for self pity, no need for silence, and no room for fear. We do language. (or in this case, art…) That is how civilizations heal." Here are some great learning resources for you... Access to your library online: https://www.overdrive.com/ MIT's open courseware platform: https://ocw.mit.edu/index.htm Skillshare has a banner ad at the top of the screen for two months of premium for free: www.skillshare.com Here is a list of free resources put together by Forbes: https://www.forbes.com/sites/martingiles/2020/03/19/free-software-for-businesses-and-schools-covid19/#467e08ee752d For more Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com The Messy Studio Podcast is a CORE Publication MGMT production.
Rebecca sits down with writer Henry Martin in Dublin, Ireland to talk about his writing process in general and his research for his book, Agnes Martin: Pioneer, Painter, Icon. Check out Henry's website at http://www.henry-martin.co.uk/ or the specific page for his book here: http://www.henry-martin.co.uk/agnes-martin/4592764574. On Instagram go to https://www.instagram.com/henrymartinhm/ For more Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Special Guest: Henry Martin.
Most artists would agree that their work is an attempt at communication, even if a non-verbal one. The idea of a conversation with viewers is a helpful perspective because it implies that this communication does not exist in a vacuum, going in one direction only. We use the term “personal voice” in reference to what we are trying to communicate, but we should grant a “voice” of sorts to our audience as well. The conversational aspect of our work begins with an inner dialog as we track our progress. Later, when this work is in front of an audience, it speaks with our viewers. Thinking about our work as a partner in a conversation with the viewer forces us to consider an outside point of view. Mark Tobey once stated that “art needs to come through the avenues of meditation, only then can one have a conversation with a painting”. We can think of the work as existing between two sides of this conversation. The artist communicates with as well as through the piece, while the audience also communicates with the work. In order to achieve this creative conversation, something deepers must be instilled in the work, beyond the superficial appearance. If a viewer can take in the whole piece with one glance, it will not be much of a conversation. Part of the self-critique process involves evaluating what you offer your viewer. Have you considered your own intentions and meanings deeply enough? How will your work engage your audience? Have you given too much, or too little information? Respect your viewer, engage their intellect, and give them more than they are expecting. The Messy Studio Podcast is a CORE Publication MGMT production. More Messy Studio Podcast: www.messystudiopodcast.com www.facebook.com/messystudiopodcast More from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
Rebecca interviews Jill Whitten and Robert Proctor of Whitten & Proctor Fine Art Conservation. They discuss the process of art conservation and restoration, as well as their paths into the field and some of their projects with museums around the world. (From http://www.whittenandproctor.com/02Experience.htm) JILL WHITTEN has been a painting conservator in private practice in Houston,Texas since 1999. She received a BFA in Painting from the University of Texas at Austin, and an MA and Certificate of Conservation from Buffalo State College, New York, in 1992. She spent her graduate internship and a three-year Mellon Fellowship at the Art Institute of Chicago. In the winter of 1995, she received a Kress Grant to work as a guest conservator at the J. Paul Getty Museum on the first phase of a collaborative project to produce new retouching paints for conservators. She and Robert Proctor were sabbatical replacement lecturers at the Buffalo State College Art Conservation Department in the spring of 1996. From 1996 to 98 she worked at the National Gallery of Art in Washington, D.C., testing and developing retouching materials in the Scientific Department and as a conservator of 20th Century paintings. Jill worked as a contract conservator at the Museum of Fine Arts, Houston treating the paintings of Frederic Remington in 1997 and 1998. Jill has lectured and led workshops for conservators in the U.S. and Europe on the use of new materials for varnishing and retouching since 1993. ROBERT PROCTOR has had a private practice serving individuals, institutions, museums, libraries, and corporations since 1994. He studied Art History at Tulane University in New Orleans and graduated with a BA in 1980. He earned an MA and Certificate of Conservation at Buffalo State College in Buffalo, New York in 1992. He traveled to Munich for his graduate internship at the Bayerisches Nationalmuseum where he mastered the technique of reweaving tears. From 1992-93 Robert was a graduate intern and an assistant painting conservator at the Indianapolis Museum of Art. He treated a large group of paintings by Max Beckmann at the Saint Louis Art Museum in preparation for an exhibition in Stuttgart. He worked with Jill Whitten on the Frederic Remington Collection at the Museum of Fine Arts, Houston in 1997 and 1998. Robert is a specialist in the reweaving of tears and has taught workshops on reweaving and has lectured internationally on varnishes since 1994. PROFESSIONAL AFFILIATIONS American Institute for Conservation-AIC International Institute for Conservation-IIC Texas Association of Museums-TAM Western Area Art Conservation-WAAC Special Guest: Jill Whitten & Robert Proctor.
When sorting through advice and opinions, not all of the voices influencing us are spoken by others. We also have inner voices that comment on our work. They may be insecurities that originate in past negative experiences and these can sap our creative energy. Others are rules and formulas that we've accepted without question but don't serve us well. But not all inner voices are negative. it's also possible to cultivate positive inner commentary and learn to control what we tell ourselves. How can we prevent our inner critic from shouting down our true voice? How can we nurture positive insights, and recognize what is right for our own direction? Our inner voices often seem to have a life of their own--positive and excited one moment, bewildered the next, fluctuating between harshly critical and and back to ecstatic. To some extent, this roller-coaster of emotion is part of the normal cycle of creativity. Making art is a hard challenge and elicits many kinds of feelings. But constant negative self-judgement is confusing and saps our creative energy. And refusing to accept anything but positive thoughts can also be detrimental, blinding us to real issues with our work. Like so much in art, it's important to find a balance. This can be done by observing your inner commentary in as objective a light as possible. One way is to consider the sources of unhelpful inner voices. Some of them may originate long ago in remarks by a parent or teacher and have nothing to do with who you are now. Other inner voices are based in commonly held beliefs about what it takes to be a real artist and are unrealistic or narrow in scope. We may also have perfectionistic ideas about how fast we should be progressing or how little we should be struggling. All sorts of ideas can lodge in our brains that feed negative inner commentary. Recognizing them, writing them down, and discussing them with other artists can help loosen their hold. At the same time, try to actively build positive inner voices by reflecting on your accomplishments and recognizing your strengths. Our inner voices can be our best guides, providing strength, confidence, and true direction. For more Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
As artists, we all want to grow and improve our own work, and we are often surrounded by the advice and opinions of other people. While some advice is helpful, it can sometimes undermine our unique, personal voice. It can be hard to sort the good advice from the bad. It is also important to realize that our own accepted opinions may need to be challenged in order for our work to advance. Unfortunately, we may hear more bad advice than good. A mentor of Ross’s once told him “if you follow the advice of 90% of the people you meet, you will end up where 90% of people end up”. As teachers, awareness of these rules and dictates that we have accepted as fact is especially important. Unchallenged assumptions can be passed from one artist to the next very easily. These beliefs become inner voices that continue to influence an artist long after the words are spoken, and can hinder an individual’s critical thinking and ideas. For example, almost all of us were told at some point that it wasn’t possible to earn a living as an artist. Those of us who attended art school often encountered instructors who gave completely opposite though well-meaning advice, and part of our learning process as students is developing a sense of what advice to follow. In art school, one teacher told Rebecca that “what is personal is Universal” and later, another found her work too personal and advised that “nobody wants to read your diary." Integrating these two ideas was eventually meaningful for her, so what seems opposing advice may also be different angles on the same idea. Even purely technical advice can be examined in light of its usefulness and truth. For example, many painters are told to “never use black paint straight from the tube”. Rebecca has 35 years of professional experience in breaking this rule. Oddly, even positive, or encouraging advice can be detrimental. You may find an instructor pushing you in a direction in which you are not particularly drawn. While exploring directions in your work other than your natural tendency can be helpful, you should always stay true to who you are. Becoming overly influenced by any one individual will make it difficult to discover your own personal voice. So what does good advice sound like? Good advice tends to open doors, make you think, and produce insights. It may be strict or formulaic, such as rules about safety or best practices, but if so it should be supported with reason and established principles, not simply opinion. The more open ended and inclusive advice usually deals with individual voice and direction. Always consider the source, and your own biases when giving advice to others. As you both receive and give advice, try to distinguish fact from opinion. Use critical thinking and challenge assumptions that seem arbitrary and unfounded. Don’t forget to be open to what is rational, and founded in principle. There is always a possibility that your existing opinions may not be correct. For More Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For More Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
Here's what we want to do with the podcast going forward... For more Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast For more from Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
We often talk about finding balance with aspects of the creative process that seem to be opposites. For example, finding the balance between working intuitively, and working with control and intention. The way each of us finds this balance between different approaches helps to develop the unique character of our individual work and process. First of all, we should define what we mean by balance. Obviously, no approach is completely equal. An artist’s personal approach almost always demonstrates a preference for one tendency over another. You may have a strong personal preference, but developed work includes an element of the opposite as counter-balance. Even very intuitive, loosely painted work benefits from structure within the composition. Often times friends, colleagues, and instructors will push their own preference. In a sincere effort to be helpful, they may insist that working with purpose and intention is the only way to create quality work, or example, or that work without spontaneity lacks emotional depth. Both approaches are equally valid, however. All of this is part of the balancing act. How much should you pay attention to what other people tell you? This matters to those of us who teach, also. Try to be inclusive of various styles and ways of working. What is right for you may not be right for your student, but you must still be willing to push them to incorporate an opposing element. Many of these opposing forces exist in our work and our lives. Are you spontaneous, or a planner? Do you prefer learning from an instructor or by figuring it out on your own? Even the most basic elements of design are defined by their opposite. By observing these opposing forces objectively, we can gain clarity. Very often these forces are not truly in opposition. They can work together, and each plays an important role. The complexities and details of these balancing acts are up to each of us to address in our own work. It can be easy to disregard tendencies that don’t come naturally. We must attempt to incorporate elements and approaches that counterbalance these natural tendencies and provide contrast. At the same time, it is essential that you stay true to what feels right as an artist. This is perhaps the most important balancing act of all! More Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast More From Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com
Rebecca Crowell interviews Paula Roland about her life as an artist and entrepreneur. (From https://paularoland.com/roland-bio/) Paula Roland is a life-long artist and teacher with an MFA in painting and sculpture from the University of New Orleans. After many years teaching painting and drawing at the college level, Paula found a niche specializing in encaustic monotype printing and related encaustic topics. Since 1996, these processes and materials have informed her own works, and in turn inspired her teaching. Born on the Mississippi Gulf Coast, Paula spent much of her adult life living and working in nearby New Orleans. Her works address the extremes in nature and the natural world’s nexus with ecology, science, art, and spirit. Since the early 1980s her works have examined natural phenomena and human interaction. Drawn to areas with a strong sense of place that are culturally rich, diverse, and visually inspiring, Roland moved to Santa Fe, New Mexico in 1989. “Living near Los Alamos National Labs and Chaos Theory think tanks has led to a heightened interest in science, including systems, fractals, and strange attractors. In recent works, I examine ecology through intuitive mapping, finding my way in rapidly changing environments in the natural world through my art. I choose materials for their ability to be somewhat unpredictable or have the ability to change and therefore partner with me in making the work. This process circumvents preconceived ideas and opens me to new possibilities. I engage with the image and medium in a direct and intimate way. With encaustic printing, thought and action are one, much like improvisational music or dance.” Roland’s awards include commissions from the National Endowment for the Arts and for the US Department of State’s American Embassies in South Africa and Uganda. She was awarded residencies at VCCA in Virginia and in France, and two at the Santa Fe Art Institute, working with Lynda Benglis and with Elizabeth Murray. Articles on Paula Roland have appeared in New American Painting, Surface Design Journal, Artist’s Magazine, New Mexico Magazine, the Santa Fean Magazine and Vasari21 online art magazine. Her works are included in books and media on art, encaustic and installation. Check out Paula's websites: https://paularoland.com/ https://www.rolandworkshops.com/ More Messy Studio available at: www.messystudiopodcast.com www.facebook.com/messystudiopocast Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Special Guest: Paula Roland.
We talked last time about the role that art-related books play in the lives of artists, and the importance of continuing to educate ourselves in various ways. This week we turn our attention to the specific titles and authors recommended by Rebecca, as well as other artists who weighed in on our Facebook poll asking for input about significant art-related books. Many artists are very passionate about their books and recommendations, which were wide-ranging. Here is the complete list of the titles discussed in the episode: Art History/Art Movement related Kiki’s Paris: Artists and Lovers by Billy Klüver Overlay by Lucy Lippard 3 books about abstraction: Pictures of Nothing (Kirk Varnedie) The Spiritual in Art: Abstract Painting 1890-1985 Kandinsky’s Concerning The Spiritual in Art Contemporary art: My Art World (John Seed) Discovering the LA Art World by John Marcella Grant About or By Specific Artist’s work Ninth Street Women (Mary Gabriel) Artist bios by Ross King and Irving Stone (Agony and the Ecstasy) fictionalized Sean Scully Inner: collected writings and interviews Agnes Martin: Pioneer, Painter, Icon by Henry Martin Several books about Lawrence Carroll who died in 2019, influential abstract sculptor Memoirs: Hold Still by Sally Mann My Life by Isadora Duncan Just Kids by Patti Smith Old in Art School: A Memoir of Starting Over by Nell Painter Daybook by Anne Truit Turn by Anne Truit Prospect by Anne Truit Inspirational Books about Creative Process/Creativity in General The Goldfinch by Donna Tart The Alexandra Quartet by Lawrence Durrell Bird By Bird by Anne Lamott A Gentle Plea for Chaos by Mirabel Osler Creative Habit by Twyla Tharpe Free Play by Steven Nachmanovitch Niamh O’Conner’s YouTube recommendations: -Art and Fear: Observations on the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland
-Letters to a Young Artist: Straight Up Advice for making a Life in the Arts by Anna Smith Deavere. (Also one with the same title by Julia Cameron.)
-What Would You Be If by Patricia Fitzgerald. Others also, watch on YouTube. (https://www.youtube.com/watch?v=WMrBVakoJ6c&feature=youtu.be&fbclid=IwAR1OgMc22idV-stdoY3kBvswJFCIxzbE8yLE2N6eFvrqK8kkaOvY4MXI1-w) World Enough and Time: On Creativity and Slowing Down by Christian McEwen Trust the Process by Shawn McNiff Steal Like an Artist by Austin Kleon Brave Intuitive Painting by Flora Bowley Expressive Drawing by Steven Aimone Drawing on the Right Side of the Brain by Betty Edward Other Inspirational Books on Art, Life Dancing With the Gods by Kent Nerbaum The Invisible Embrace of Beauty by John O’Donohue The Unknown Craftsman: A Japanese Insight into Beauty by Soetsu Yanagi Technical Info and Background— Secret Lives of Color by Kassia St. Clair A Natural History of the Palette by Victoria Finey Living Craft: A Painter’s Process by Tad Spurgeon How to Write About Contemporary Art by Gilda Williams Cold Wax Medium: Techniques, Concepts & Conversations by Rebecca Crowell and Jerry McLaughlin This is just a random sample of artists who saw and responded to my Facebook post but hopefully we have given you some ideas for excellent new reading material. Art books especially heavily illustrated ones tend to be expensive, so it’s a good idea to check sources for used books including the used listings on Amazon and other online sources like Abe Books. And of course, it’s great to share your books but put your name inside and check up on the loan before too long—there are many tales of woe of books loaned to other artists that became buried in someone’s messy studio.
In December of 2019, Rebecca posed a question on Facebook for the artists who follow her page. She asked, “I’d love to hear about art books you recommend -- those you keep close at hand, have helped you in some way, broaden your perspective, and/or just make a good read or a visual feast. I would define “art books” as anything related to art forms, artists, art movements, creativity, or anything that has inspired your work.” There were dozens of replies, covering a broad range of topics, which was somewhat unexpected. Rebecca had assumed that there would be a handful of repeated titles mentioned--well known, familiar, and often referenced books that could be considered a canon from which artists could draw knowledge and inspiration. But clearly, those who responded were inspired and intrigued by a wide variety of topics and genres, and are probably representative of artists in general. Rebecca decided the best way to talk about artists' love of books was to organize the titles that were mentioned into broad categories. The specific titles are also important, and we will discuss those in our next podcast. For now, however, our focus will be the roles these books play in creative life. Many artists have enormous collections of art-related books. These collections are an investment in the growth of an artist’s creativity and career. They demonstrate curiosity and a desire for deeper understanding. Some artists joke that collecting books is a bit of an addiction. Even a small collection of relevant books can have a profound impact on your thoughts and intentions, and can help us understand our own work, as well as other’s work better. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
In today's episode, Rebecca interviews New Mexico artist Betsy Williams about her work and recently published book. https://www.instagram.com/enbistudio/ https://www.enbistudio.com/ https://www.bluebearvending.com/ www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Betsy Williams.
While this may seem to be an odd topic for the Messy Studio, it is something that is important to Rebecca's creative life and that of many other artists. Walking has numerous and well-known benefits for physical and mental health, but what can it contribute to our lives as artists? In this episode, we explore walking as one of the ways that daily life and art are integrated. There are many parallels between walking and the creative process. Walking is a slow, potentially meditative activity that helps us to be present and to pay attention to the visual world. And as with the creative process, we feel free to explore, ramble, and focus on the journey itself rather than a particular destination. In addition, we gradually gain stamina and confidence in our ability to keep going. Overcoming resistance to going out for a walk helps strengthen other good hablits, like going to the studio even when you don't feel like it. it's true that many of us have limitations on walking--physical, seasonal, or geographic. But it is not about how far, fast, or often you go. If walking is a possibility, it is one of the best ways to bring mind, body, and spirit into alignment. For artists and creatives, there is another dimension to walking in its ability to bolster your creativity and skills useful in your art practice. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
The questions we ask ourselves as artists are at the root of the creative process. As artists we are driven by the unknown. Contemplating various possibilities brings energy and change to our work. It keeps our work dynamic, and exciting, and it keeps us engaged in the creative process. These questions may be big or small. Where is a particular piece heading? What “works”, and what does not? When is a piece finished? There are also deeper questions about our overall practice and direction. These questions play an important role in our work, and in developing a personal voice. If we are not asking questions, it can only mean that we are completely satisfied with our work, which is seldom the case. We can always be asking the question “what happens next?” or “how did I arrive at this point?” When we stop asking questions, we are halting the creative process and stagnating. At this point it is easy to become bored, and for the quality of work to suffer. Some of the best questions to ask start with “what if”. These questions are basic to finding your way into a process that works for you. We may not even be conscious of these questions, or put them into words, though it is not a bad idea to do so. A good idea is to keep a log or journal of your creative activities. You may wish to take notes as you work, but if this is disruptive to your process try taking a few minutes at the end of your day to write down any fresh insights. Our work is built on the gradual accumulation of knowledge that arises from asking questions. Try putting a little more intention into these questions. Think about the questions you have asked in the past, the ones that you are currently asking, and the direction of your work. As you think about these questions more consciously, your work will gain depth, meaning, and complexity. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Intuitive Color Color is a very powerful influence in our everyday lives, and certainly in our art. It is the most studied of the visual elements by experts outside of the field of art--in biology, psychology, and in cultural studies, to name a few. As artists, we may work with color in an intuitive way, or more intellectually-- each of us finding a way that suits us. There is no single correct system for using color. Our individual approach is linked to our own characters and personalities, and is often a strong aspect of our personal visual voice. How important is it to study and apply color theory and systems? Although a basic introduction to color is standard in art school courses, Rebecca attended several different schools and somehow missed this part of the cirriculum. As a result, her approach to color is mostly intuitive, developed over time through practice and observation. Trial and error builds experience, and only through experience can we really grasp the intricacies of color. Many self-taught artists feel insecure about color because they are aware of the scientific and technical aspects of color, and feel it is something that must be studied at length as one normally does in art school. It is true that the formulas and systems for color mixing can be fascinating. There is a rich history of color, paint, and pigment throughout history. Also, some art media require specific knowledge for layering colors, such as watercolor or printmaking. But intuitive use of color can also be very effective especially when combined with some very basic information and vocabulary that is easily studied, along with awarenss of what your intentions are regarding color. In spite of the dramatic impact color has on our work, we can easily become habitual in our use of color, and fail to be led by intutiion into more effective ways of using it. One tip is to notice which colors move and affect you, which may be different than the ones you find appealing and use most often. Many people speak of "my colors" but these may not be the ones that provide contrast or depth for on the work. Do some experimenting and exploring with colors that challenge you or excite you. Consider what your color choices communciate to others and whether or not that is what you want to convey. Are there some changes, even small ones, that could bring another level of meaning to your work? www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
As artists, we accept many day to day challenges as part of the creative process. Even though we all feel frustrated at times, we know that problem solving is how we grow and achieve our goals. Solving creative problems can bring great satisfaction, but some studio struggles are also very difficult and soul-wrenching. Artists at every level experience these times of defeat or despair that go beyond daily frustration. These serious struggles are often triggered by a lack of ideas, but they can also come from too much input, leading to confusion and lack of focus. In this episode Rebecca shares a recent personal experience of creative block of this kind, and the ways she has been working to resolve it. In her situation, impactful travel experiences along with the demands of an exhibit with an entirely different focus led to a frustrating tangle of ideas. It has taken her weeks to find a way forward-- involving introspection, confronting some unhelpful beliefs and fears, and considering the advice of a friend. Although most of us recognize these struggles are essential to the creative process, we may have to relearn to accept them over and over. It is a challenge to truly understand that they are times of incubation and are part of the cycle that also includes creative flow. We hope that this episode of the Messy Studio podcast will provide some ideas for coping and moving forward during these difficult but important stages of our process as artists. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
No artist is wholly original. We all owe those who came before us for techniques, ideas, theories, and approaches, and we should honor these influences. Each of us references these influences in our own way. Some of us place ourselves firmly in the tradition of a certain approach to art, or even as followers of a particular artist, but adding our own expression and interpretation. Others are less eager to fit into a category, choosing not to identify with any particular approach and acknowledging a wide range of influences. But overall, being influenced by others is an expected part of how we grow and educate ourselves, and there is a long tradition of this process throughout art history. The best influences are those in which you understand the other artist's work and the context in which it was created. This allows you to move beyond the look or style of the work to finding connections with your own ideas. It is also healthy to have numerous influences, so tghat you are not overly swayed by one person. In these ways, you can pull from the work of others the things that will help your own work grow in a personal direction. Unfortunately, there are also artists who use influence in an unhealthy way, either deliberately plagiarizing another artist’s work, or using so many of their ideas that it comes uncomfortably close to outright copying. This is a distressing situation for the artist being copied. If the plagiarism is serious enough that action is called for, finding a way forward can be very challenging. Try to remember that, although having your work copied hurts, it will probably end up hurting the person copying your work more than you. There are very few things more damaging to an artist than gaining a reputation as someone who produces knock offs. Customers, gallaries, and other artists all view this behavior as unprofessional. For these reasons we should all seek to create unique art, and not become overly influenced by other artists. If you art looks too much like someone else’s it will end up hurting you in the long run. The bottom line is that you cannot control what other people do but you can control your response. Try to remain objective when handling these issues, whichever side you find yourself on. Embrace the centuries long tradition in the arts of being influenced by others and building on the work of the past. Always strive to differentiate your work from others, and if someone else’s work is too similar, do your best to handle the situation gently. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
For many artists, some form of outside employment is necessary to make a living. Their day jobs often have little or nothing to do with their creative lives, but some have developed income streams that evolved naturally from their studio practice. This approach leads to a more integrated approach to earning a living. Today we’re focusing on some examples of art related side hustles. In preparation for this topic, Rebecca searched for statistics on artists who make a living from art sales alone. What she found--to no one's surprise--supports the fact that many of us need other income streams. While the Bureau of Labor Statistics provides fairly decent income figures for artists, they include paid artist positions like designers and teachers in their overall statistics, and don’t provide separate information for those who are studio artists only. The Artfinder Independent Art Market Report: 2017 produced figures that are closer to the reality that many studio artists face. They report that artistic practice accounts for less than 25% of their survey sample's total income from all sources. Many studio artists have found ways to cobble together a good living from art sales plus one or more art-related side hustles, which they prefer to traditional part time or full-time employment. Although outside employment offers a steady paycheck, the benefits of self-employment include greater control over your time and level of commitment to your artwork. And when self-employment involves providing meaningful goods and services to other artists, there can be deep satisfaction in what you do. As an artist, what skills do you possess that could be translated into extra income? Today we look at several categories of side hustles that arise from knowledge and services that artists may be able to offer. We also have interesting stories and insight from two artists who have developed successful art-related products, Paula Roland and Elizabeth Schowachert. www.messystudiopodcast.com (use promo code EPISODE100 in the Etsy shop before December 4th for $5 off!) www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Also mentioned: www.paularoland.com https://elizabethschowachertart.com www.fiver.com
While most artists have a way of working that is their main focus, many of us also explore other media or approaches on occasion. While in general it is good to have something that you stick with to develop ideas and master techniques, side trips can be intriguing, and even helpful in feeding new ideas back into your main art practice. In episode 79 of The Messy Studio Podcast we talked about the benefits of going deeply into a chosen way of working, rather than engaging in a lot of different approaches. We acknowledged that this isn’t right for everyone, especially for more conceptually driven artists whose work is united through ideas rather than media. But just about anyone can benefit from the occasional foray into different ways of working. Branching out isn’t about abandoning your primary focus, but enjoying the pleasure and excitement of trying new things. This can be an expression of the same ideas that you gravitate toward in your main work, or something completely different. It is a good way to explore concepts and techniques that have appealed to you in the past, but you have never pursued. Artists tend to be open and curious individuals, and it is natural to have multiple facets and approaches to an art practice. Listen to that small inner voice that occasionally says “would it be interesting to try another medium, if only as a playful, experimental interlude?” Although a sideline may eventually develop into a true skill, your attitude is often different from the beginning. You are free from any need to prove yourself so there can be pure joy in pursuing these other paths. And along the way, you are learning skills that can impact the way you work most often. In this episode we take a look at specific examples of what branching out can bring to your art practice as a whole. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Our Studios, Our Sanctuaries There are few things artists are more passionate or opinionated about than their personal workspaces. In the past we’ve touched on many aspects of individual studio environments including the kind of sounds that artists prefer as they work (Episode #95 of The Messy Studio Podcast). Today we’re going to further explore what makes art studios unique and special to those who work in them, as well as offer some practical considerations for those in the position of upgrading their spaces. In spite of the importance of studios, they can be created almost anywhere and with minimal space and equipment. Studios range from tiny and poorly equipped to enormous and fully functioning. Many artists carve out a work area in a basement, a spare bedroom, a garage, or shed. Others have large, well-lit, purpose-built studios with plenty of wall space and storage, perhaps even more than they actually use or need. Art can be made anywhere, and many of us have experience in a variety of studios to prove it. While it’s always important to make the most of whatever we have available, most of us do dream of a perfect studio and take any steps we can--even small ones-- to improve our current situations. If you’re fortunate enough to be in the position of remodeling, designing or relocating to a new studio, where do you start? Location, amount of space, how to pay for the space, and what you need for equipment, utilities, and storage are all important aspects of your planning. But there are emotional as well as practical considerations in thinking about studios. An interesting exercise-- whether you are keeping your current workspace or planning a new one-- is to create a detailed mental image of your perfect studio. How big is it, where is it located, how is it outfitted, what supplies are on hand? This fantasy studio can help you recognize what’s important to you in a practical sense, even if the reality is a more modest version. But it can also help you to enter a create mindset if used as a meditation before starting to work, or if you hit a slump. Any studio is as much an inner space as physical one, a sanctuary where we are most ourselves. Your fantasy studio can provide some powerful personal symbols that connect you with this truth... www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
New Mexico painter Cindy Stapper discusses her work in which she explores the dichotomy of presence and absence through both realistic and more abstracted approaches to the landscape. Other topics that she and rebecca talk about include the challenges of change, the pull of the wild Irish landscape, her appreciation of cold wax medium and oil, and the influence of poetry and writing on her work. https://cindystapper.com/ www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Cindy Stapper.
Dealing With Rejection We’ve all suffered through rejections both major and minor. Like the cycle of ebbs and flows that we talked about in episode 94 of The Messy Studio Podcast, rejection in various forms is a part of an art career that we have to deal with on a regular basis. How can we stay positive and motivated when we are being told we didn’t make the cut? What does rejection really mean in the big picture of our lives as artists? The common wisdom in the entrepreneurial world is that if you haven’t suffered a lot of rejections, then you haven’t been trying hard enough or aiming high enough. The question is, what do rejections really mean in the big picture? They hurt at the time, but they are actually positive signs that you are aiming for something higher and further than where you are now. Rejection means you aren’t just playing it safe, but pushing yourself out of your comfort zone. Facing rejection is a sign of ambition, and your intention to grow your career and audience. Rejection can also be seen as part of a process. Finding the right path for yourself isn’t easy. You have to try a lot of different things to find out what works. Rejection is an indicator that your current path may not be the right one. This may help you to expand your thinking. You may be focused on acceptance to a particular gallery, a grant, or some other opportunity. Being rejected may lead you to consider other ways to achieve the same goal. The old cliche of “when one door closes, another one opens” can be true, but probably involves a conscious shifting of focus toward a new idea or solution... www.messystudiopodcast.com www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast
www.messystudiopodcast.com www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast What’s On In Your Studio Most artists have strong feelings about their work environments. What works, what doesn’t, what rituals or other aspects of their studio days are important? The overall environment of a studio can be expanded upon in a number of ways, but our focus today is on what is heard, or not heard, during work sessions. Artists, as well as other other working professionals, create auditory environments within their work spaces. What enhances their work flow in terms of music, talk, or silence? Some people never consider this question when designing their own studio, and placing careful consideration on how best to optimise a work environment using sound can have a big impact on the quality of work an artist is able to produce. Rebecca: I am very eclectic in my audio choices. I may play music or a radio program. At times I want something on, but it doesn’t really matter what. I usually prefer silence. I suffer from hearing loss, and the bubble of muffled silence I live in actually helps my concentration. I don’t have a good sound system in either of my studios, so my options are old CDs and whatever radio stations I can receive. If I have a craving for specific music it is usually classical. I think about putting on music the same way others might think “a snack would be nice”. For me, music isn’t a particularly important part of my workflow, so I was somewhat surprised to find out just how passionate many artists are about their audio environment...
The ebbs and flows of income (and other positive events) are challenges for any self-employed person. But we have to learn to deal with slack times if we want to persist. Once you become discouraged it can be easy to lose your motivation and even think about giving up. Today we’ll cover some strategies and thoughts that can help if you’re in the midst of a downturn, and also ways to take the best advantage of the good times. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast https://herzogart.com https://messystudio.fireside.fm/29 https://www.allisonbcooke.com I often like to look up terms that get tossed around, and Oxford’s first definition is “an instruction, command, or duty given to a person or group of people.” While the commandment aspect of this is often looser with an art commission, maybe it is the sense of being ordered about that some artists find difficult. Some artists never work on commission—dislike the disruption of their creative path, being watched and judged for the end result, value their artistic freedom above sale But for many, commissions are very welcome—like gold--let’s look at the upside of receiving one: Guaranteed purchase May hang in public place Unique challenges—the “assignment” aspect may push you into new ideas Validating of your work/adds to your resume How do they work: Arrangements vary considerably: Through a gallery or designer—they will ask your terms or may have their own; may ask you to be flexible if they are eager for the sale Private commissions—artist sets the terms May need to share with gallery if it is in same local as one of your galleries through which the client knows your work When you set your terms—you can suit yourself. Opinions and formulas abound and in the end it is what you feel good about. Consider: Do you want to charge extra and how much—can be as much as 50% more or your basic prices—what is it worth to you? How eager are you for it to go through? Consider any extra expense—custom panel, special paint Consider shipping/delivery/installation issues up front; who pays? How much to share in-progress photos—can be inhibiting depending on your process How much freedom do you require? What will you do if the client is not pleased? Be realistic about your schedule and how much time to give yourself If it’s a private commission, are you comfortable negotiating with an unknown client? Can be hard if you’re not used to it Artists who work often on commission have set ways of doing it that they know work for them. Ex: portrait painters of all types work almost exclusively on commission. Ginny Herzog: I always get a 50% deposit before beginning the work. The balance is due before it is shipped. Yes, I send in progress photos and the piece is not finished until the customer is happy with the painting. Only once did a customer want to return a commission and that was because their interior designer wanted something different for the space. The customer said they liked the piece and it was exactly as they had requested. I told them the designer should have been in on the conversation from the beginning if that was the case. They ended up returning it and paying shipping costs. I didn’t send them a refund until I resold the painting. Others who only do them once in a while can be confused each time the idea comes along. May have a loose approach, negotiable. Allison B Cooke. Has done only a few--asks for ½ down and uses her base price with perhaps slight increase. Mentioned the strategy (others use as well) of creating two paintings and allowing client to choose. Downside of this is that client may not feel their piece is special and unique. My own approach: Use my basic prices (based on sliding scale PSI) and add in extra if I need to buy custom panel. Charge the client for delivery. Ask for nonrefundable 10% down to cover supplies. Allow for right of refusal and would not charge the balance. I prefer not to send in progress photos unless I have a question about color or something. The emotional side of all this: Feeling of someone looking over your shoulder –someone specific as opposed to vague someone The need to please Often it means referring to an older work or work on a completely different scale Pressure/stress –what if it isn’t going well Fear of failure, judgement Can be hard to work without a middle-person/gallery My own private commission story/nightmare—when I thought I was doing everything to please and they didn’t like the color when they saw it. Then a decision about whether to re-work or just walk away. How badly I felt about the whole thing, jumping through hoops, in the end did not feel good about it. And the good story—current commission; appreciative client, gave me freedom, enjoyed the challenge, felt like I was creating a personal work for someone I like Also the commissions for MD Anderson—I learned a lot, felt good about them in a public place, some stress because of their scope and cost but rewarding financially Wrap-up: A lot of artists have definite opinions pro and con about commissions, while others accept them with some caution. Good to go in with eyes open, recognize their benefits and difficulties.
Many of us are fortunate enough to have had mentors in our lives who were also friends or relations, who have helped us or we have helped along the way. These are relationships to protect and be grateful for as we discussed last week. But there are ways to have a mentoring relationship with people we don’t know, at least at first—a formal kind of arrangement in which the mentor is compensated and there is more structure to the arrangement. Do you need a formal, paid mentor? Individual needs vary but here are some examples you identify a need not being met by current situation/have tried it on your own. You feel stuck or stagnated Need support and feedback, working in an isolated situation Want someone to hold you to your goals You’re willing to commit to the schedule, structure, the follow-through You can be pro-active, not passive in what you want from the arrangement, give your mentor something to go on You’re willing to accept constructive criticism, follow assignments/suggestions, commit to at least trying things Also understand: You should respect whatever boundaries are agreed upon, no special treatment Mentors are not therapists/life coaches—keep focus on your work or relevant life issues Mentors are most effective once you already have some skills, are fairly developed already to help you to the next level of excellence. At a more mature level you know the kind of mentor that suits you best. How do you find a mentor? Word of mouth Google (of course!) Website—Mentorly—matches mentees and mentors, different price categories, the site vets the mentors and prices according to their experience, recommendations etc. Online only. Workshop instructor Someone you admire—make inquiry A local mentor may be good for various reasons, can be less formal, more accessible, able to meet in person What to have I mind? Goals and intentions—specific or broad—what do you want to focus on (the mentor can help with this too) What you can afford or what it is worth to you or could you barter help of some kind How often you would like to meet or talk What if it’s not working? Give it the agreed upon amount of time/number of sessions to decide; a specific end point may be helpful; helps with focus, puts people at ease too to know there's an end point Voice specific complaints or issues/aim for open communication without simply complaining or whining/ challenges are part of the deal Would YOU like to be a formal mentor? Have the right mindset, you have something to offer You have broad expertise/knowledge as well as specific to your field You have some experience in teaching or being mentored yourself You want to work with people to achieve their own goals, your role is supportive not authoritative, not controlling Able to keep on topic Able to commit to a schedule Able to set expectations Good communications skills, good listener, direct, positive, friendly Organized, able to meet commitments Good role model You have a base from which to draw mentees—mailing list, website, etc. Have testimonials about your teaching and communication skills Understand your own limits in terms of time and comittments Benefits to you: Personal satisfaction Income Grow your workshop or other connected business, enhanced reputation Set your own hours Articulating important art ideas helps your own work What if it’s not working: You’re only obligated to do as much as original agreement but follow through on that Honesty, constructive feedback if you need to end relationship As mentor, decide— How much time to commit Structure—can be set times for meetings, by skype or email…or set as needed. Can go on for a specific amount of time, say 6 months with monthly interactions. Can be very informal—call me when you need me. What is good compensation Starting out, $50/hr or so For a lot of skill/experience-- $100/hour or more. You may have them pay ahead for a set number of sessions or pay each time.
Do you prefer live meetings, skype, email? With email feedback, will you charge by hour or set rate?
What is your focus as a mentor? Open to any issues, or prefer to focus on art business, studio practice, creative process—general or specialized WRAP-UP: There was a time when being mentored/apprenticeship was the only way to learn from another artist. Now it’s one of many choices, but remains one of the very best for personal feedback and support. For those who want to mentor it’s a fairly easy way to run your own small business. Just be very honest about your qualifications and ability to do the work. Notes www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast https://mentorly.co
Notes Working with a mentor is a long tradition in the art world, in which a less experienced artist looks to one who is more experienced for guidance and training. Is art mentoring still important in the age of instructional videos, books, workshops, and artist groups? What do we gain from having a mentor, or from mentoring other people? Today we will talk about the unique offerings of mentorship, and tips for both mentors and mentees. Our focus today is on the more informal kinds of mentoring as opposed to more formal or paying relationships. We’ve talked about lots of other forms of learning in this podcast over time—videos, workshops, etc. but today we’ll focus on this more specialized topic. Not something I have done much of in a formal way, my energy has gone into teaching workshops/ book/ video, also forms of mentoring--- though not as ongoing or personal. But I do have some experience with both formal and informal mentoring. Wikipedia defines Mentorship as “a relationship in which a more experienced or more knowledgeable person helps to guide a less experienced or less knowledgeable person. The mentor may be older or younger than the person being mentored, but he or she must have a certain area of expertise.” This definition includes being mentored without personal contact at a distance—you follow someone, pay attention to things they say and do. Maybe never even meet them but they still guide and inform you. This is where all the info available to us online etc. overlaps with older kinds of mentoring. Lots of artists refer to others they have never met as mentors in this sense. Informal mentors that just happen in your life, people you meet who help you, informal basis instructors (college, workshop) who you have for a time, or more ongoing relationships. Professional artists in your personal circle/friends who are more advanced or have a special knowledge you’re interested in Most of us have had people like that-- very important in our development. Provide support, encouragement, positive ideas, role models. The personal relationship part is important—this is someone who really sees you, knows you, has insight Myself—several instructors in college and grad school, as well as an imp. art teacher when I was a young teenager. I knew her personally--helped me see that being an artist was a real possibility for my life. How does one lead an art life. Introduced me to abstraction. Many years later she took one of my workshops—full circle. A powerfull relationship with great impact. There’s also some gray area--you consider someone a mentor and approach them for advice even though it's not someone they know -- an artist wants advice from someone without that mentor being either a good friend or someone who is paid. More on this in a bit. If you are advising someone as a mentor, know your own limitations. Be clear about what you know and don’t know, and try to understand when to give advice and when to hold back…More on this in a bit RE: that gray area in which there are expectations but no discussion about the roles being played —and the person isn’t a friend. For example someone continuing to contact an instructor after a workshop with requests for feedback, sending images of work when not requested etc. This comes across as presumptuous and usually not appreciated. In any case friend or not--if you want someone’s help -- clarify the relationship. Make sure the mentor is OK with giving what you ask for; be prepared to pay for their time or offer something back. With people in that gray area--You’re not entitled to their help ongoing because you’ve had a workshop, they wrote a book etc. An email asking for detailed information can be intrusive. Helping you with your work is a professional service so give it that respect. Ask yourself how much you would expect to be given freely from a friend in any other profession or trade. An auto mechanic friend might be happy to say what they think is wrong with your car, but not to take on its repair… There should always be clarity and some reciprocity in any mentoring relationship. Don’t push the limits of what is given in terms of help and guidance. Mentoring by a friend: Respect the boundaries of any mentoring relationship including someone you are personally involved with and understand the needs of the person doing the mentoring. Be grateful—it’s a rare privilege. Give them credit when it’s due. Express gratitude with specifics. If the person is trying to help you they would probably like to know on a personal level how it helps. Do give something back. Show interest in their work, take them to dinner, return a favor that you can offer. Be objective--Try not to be overly influenced by their approach and style—ideally they are helping you find your own way try to see what they offer you in an objective light… they may be giving you advice that they themselves don’t follow or is not the best for you. Does their advice fit who you are now? There may be a time to split from your mentor If you are the mentor in an informal relationship— Can be a very rewarding part of a friendship You have special insight into the person’s life Understand the impact you are having esp. on a young or undeveloped artist Recognize the limitations; this Is not about controlling outcome of any sort for your friend Not about your own ego/ pumping up your accomplishments and image/truly an act of generosity and friendship May be harder to be honest/direct when friendship is involved, same issues we have with any artist friend being honest or critical Test the waters, figure out what the relationship will tolerate if you are concerned about damaging the friendship, but be as honest as possible. Suggest the friend involve a more objective mentor if necessary Recognize the impact you have, be sensitive. Your role is to be supportive, positive and if you can’t be that suggest they look elsewhere. You don’t want to be a negative influence or overstep your bounds.. Wrap--Up: Mentoring relationships are powerful and hopefully positive. They can be a rewarding informal arrangement on both sides but there should be some acknowledgement of that relationship, not just vague expectations. Next week we’ll go into more formal arrangement when a mentor or art coach is someone you seek out and pay for their services. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss why sharing your process and techniques with others helps to advance your own work and career. Intro: An artist’s creative process is not always easily accessed by others—it may include technical secrets as well as approaches that are simply hard to convey to others even if there is a desire to share. Do the art practices of others seem mysterious to you? Do you guard some of your own studio secrets, and why? In this episode we’ll look at the pros and cons of keeping studio secrets and how transparency can benefit you as well as other artists. As a workshop instructor I’m sometimes asked why I give away all my --an interesting question—first because I do charge for my workshops! But the real question is what do you risk by being open about your work. My response is something like, my secrets are my secrets, but my techniques are things I’m happy to share. What I mean is that there are things that go into a painting that are private—memories, emotions—and there’s not much point in sharing those anyway, they are personal to me and would not be helpful to anyone else. But the biggest/best secrets are right in front of you—the importance of finding your voice, being patient, practice, etc. Things you just have to do for yourself with diff. results for each person. We can advise and offer tip but personal path is your own. Also some things about process are very hard to explain. Technique and process are just means to an end. Techniques are tools for each of us to use in our own ways. Even something like a formula for a painting color can lead to different results for different artists. There can be a feeling if we knew exactly what someone else did we could enhance our own work. People tend to look for formulas/answers as the result of being taught that way. That said I am not always ready to share something when I’ve just figured it out or am in the process of seeing what I can do with it. Another thing about teaching is people can feel entitled to the inside story on everything you do. (I do have moments of “ I just figured this out and I’m not ready to share it.” But there comes a time when I am ready. My hesitation is more about enjoying the discovery process on my own.) That’s me—we all have to figure out our boundaries on this. When you’re a teacher you are probably more inclined to share. Reasons to be Open: Letting others understand your techniques does not diminish them. If anything, it adds to the appreciation of the ones you have mastered. Never as easy as it looks or sounds. A lot of great art has been created using very straightforward and well-known techniques such as applying oil paint to canvas with a brush. Simply showing someone a technique is a first step, and most people figure out their own ways to use it. Keeping your techniques or formulas secret doesn’t necessarily add to own stature or mystique. It may just make you look guarded or territorial, maybe a little insecure-- Work that depends on mastery of a particular “secret” technique can be shallow—it can limit the artist to exploiting that which he or she has staked a claim to. The work can start to seem tricky or gimmicky. Spiritual or philosophical benefits of sharing: Acknowledge that every new thing comes arises from some previous knowledge that was shared. You may have put it together in a new way but be aware of the chain of which you are a part. By sharing you allow others to build on your discoveries. Teaching—obviously you need to be open. You can set your boundaries around anything you’re not ready to share, but I think these should be relatively few things. The spirit of teaching is sharing, being open and generous. Students don’t appreciate it if you hold back. Offering some free material via websites, youtube, etc. is good business practice Selling: talking about your techniques and process leads to understanding and appreciation of what you have developed. Relations with other artists: when you share, opens door to sharing back, also it can be interesting to see what happens in a collaborative sense. Your ideas transformed by someone else. Opens dialogue and collaboration. Reciprocity. Don’t be put off by fears of copying etc. What Not to Share: You can potentially share anything—up to you Sharing does not mean dictating or controlling how the knowledge is used. Know that once something is out in the world it has a life of its own. That’s basically positive and healthy but should be understood. Knock-off work rarely succeeds. Difficulties in sharing--Some things about process are simply very hard to articulate –you may think another artist is being secretive when in fact they just don’t have the words. Art speak or vague descriptions may well be honest attempts to talk about what is basically beyond words. Be honest with yourself—do you think as an artist you are “supposed” to be secretive as part of an artist's mystique? Is that really your natural inclination? Are you afraid of being more open—if so can you see benefits you might be missing out on? Wrap-Up: By nature many artists are very open and generous with their knowledge and ideas—a lot more so than the stereotype of the loner, egotistical artist would indicate. In my opinion that is a good thing to embrace and be a part of and makes your art life a richer experience. www.messystudiopodcast.com Create a site on Wix today! (https://wixstats.com/?a=30657&c=2356&s1=) www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross continue their discussion on building your artist website. Create an artist website on Wix today! (https://wixstats.com/?a=30657&c=2356&s1=) Episode mentioned: https://messystudio.fireside.fm/55 www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com
Rebecca and Ross discuss common pitfalls in artist websites and why your website is important. Create a website today with Wix! (https://wixstats.com/?a=30657&c=2356&s1=) It is fast, easy, and free to get started. www.messystudiopodcast.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Jerry discuss the process of making their video (Cold Wax Medium: A Video Workshop)--including behind the scenes stories, the challenges of being on camera, and their motivations and intentions for this huge project. This episode includes a discount coupon code if you wish to purchase the video. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Jerry McLaughlin.
Intro: Many of our listeners know about the book that Jerry McLaughlin and I co-wrote--Cold Wax Medium: Techniques, Concepts & Conversation—and also that, from the beginning we did not want to only talk about techniques (hence the title.) Today we want to talk about why we find the concepts and ideas of abstraction important and offer some ideas about understanding and developing meaning in your own work. In a recent podcast Ross and I talked about the commonalities abstraction has with other approaches to art as well as its unique aspects. We mentioned then that there are challenges for artists working in abstraction and today we’ll talk more about that. How to bring meaning and individuality to the work? An idea that some find hard to grasp—thinking abstraction is simply design or random occurrences. Yet all you have to do is recognize that people have personal voices and recognizable styles to know that there is more going on than that. Odd that imagery = meaning for many people. Tied to a strictly literal way of thinking and interpreting. Using only a small part of our means of appreciating the world. Labeling of imagery can lead to a shallow interpretation of any kind of art including realism—ask more questions, why has the artist chosen the subject matter, how is it handled. True appreciation never stops with identifying subject matter even when it is the most obvious component. Abstraction—usually imagery is removed from the equation, or if it is there it is handled in a non-illusionistic way. We can jump in more readily to the interesting things—what’s behind the work. Labeling does not need to intrude. Abstraction includes the artist's experiences, emotions, thoughts. We do accept non-literal associations through our other senses--hearing, smelling, tasting. Our human brains seek structure and meaning-- but literal image is only one type of structure. Look for how the artist has structured the work as a way in. Notice contrasts, how the visual elements are used and which ones. As the artist, abstract painting requires abstract thinking. Letting go of labels, letting yourself be carried by ideas, feelings, memories. No need to explain, stay logical. We've all founnd ourselves caught in reveries without visual reference. At the same time give yourself some structure—identify intentions, preferred elements, use of form and content. Getting away from linear thinking does NOT mean lack of content. Many things bring meaning to our lives that are not clearly defined. Sources of abstraction include any aspect of experience you care to bring to your work—in any combination. We can be pulled off track into the familiar when "things" appear as part of the process. this can be very random. Intuition does not mean finding something identifiable things in the painting but rather playing off important visual elements. Intentions: important to set them to develop and understand yourself and meaning of your work. Your essential character and core values and feelings. They make your work you. They can evolve over time. Challenges for Artists /personal voice Idea that abstract artists as need to be more individualized or unique because they are creating their own realties rather than depicting a shared one as with realism. BUT like other approaches, there are similar appearances. Ex: geometric abstraction, abstract expressionism. Learn about artists working in these ways and how your work might be seen in that context, the history and cultural connections among people. You can feel quite lost without these references. Be open to various influences that mix and enrich your work. Influence doesn't mean it has to have obvious visual siilarities. Can be an intrigue with process, background, thoughts. What other aspects of your life bring meaning to your work? what are you interested in? Expressing your complete self is an advantage of abstraction. The multiplicity of influences and sources both external and internal can be very rich. Keep an ongoing awareness of these. This can also include spontaneous, intuitive work. Involves a lot of personal, inner work--a very examined life. An understanding of yourself. Intentions involve both personal content and formal aspects (such as exploration of color.) Be willing to examine your own inner impulses, and for ways to communicate those . be able to think in an abstract way, don't over-explain. Difficult but can look easy to outsiders. Analytic phase interspersed with flow. That takes a lot of experience. trying to sort all this out may require simplifying, finding a structure, talking about it out loud. Intuition does play a huge role. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Jerry McLaughlin.
Intro: Many people find abstraction very challenging to either create or appreciate because it seems so different from more realistic approaches and it seems hard to find a way in. Although in some ways there are radical differences, there are also some basic similarities with representational art. Today we’ll talk about abstraction in a way that may help your efforts to understand it as an artist or art appreciator. Realism and abstraction often both get put into fairly rigid boxes in many people’s minds, yet there are also artists who have worked well in both and lots of gray areas in between, or who work back and forth between these styles freely. All art = translation of some kind. Starting with a source, an idea, something seen, thought, known or felt. Artist wants to interpret the source in a meaningful way. Which path to take? As an artist, be open, follow your gut, no easy answers with any approach Quick run through some broad/simplified categories of art approaches: Lots of overlap, these are all continuums-- but for discussion purposes Realism/Illustrational—as close to what is observed as possible. Can be narrative, allegorical or straight forward observation—artists motivation varies.
Interpretive—subject matter is very important and identifiable BUT artist’s personal style/interpretation is important. emphasis on technique or particular visual elements. Van Gogh example. Surrealism. Expressionism.
Abstraction—ideas, visual input, emotions are interpreted with varying degrees of recognizable subject matter—from some inclusion of subject matter (Picassos abstracted figures) to pure abstraction/no recognizable image/abstract expressionists like Pollock. Includes Mimimalists like Agnes Martin. When subject matter is included it tends to be loosely defined, and either a vehicle for emphasis on color or technique, or symbolic
Conceptual art—might be its own category but definitely a lot of overlap with abstraction. Visual image may not be part of it at all. Performance art, ephemeral art.
Abstraction is a huge, broad category. Discussed in early podcast #13 and 14 Not a small box of non=representation only, or any one way of working. So broad in fact that aspects of it can be found in all other approaches. . Similarities: what is NOT unique about abstraction All artists (with exception of some conceptual art) use visual elements /principles of design to create their work—these building blocks are basically purely abstract. An abstract language. Visual elements—color, value, line, shape, form, texture Design principles—aspects of composition, distribution of visual weight, contrast, unity Art school or independent study teaches much of the same basic principles of art to everyone. Important no matter which path you take. (A misperception that abstract artists do not need to know basic skills, that it is entirely free-form. These are very basic tools for all artists. ) Structure and tension are important no matter what the style. All artists deal with relationships between parts of their work. A realistic landscape painter is thinking similarly to an abstract painter in placement of shapes, colors, movement of eye throughout the painting. Communication—trying to convey a perspective, idea, emotion, interest, bridging the gap between one’s own perception and the viewers A matter of how your sources or input are translated, more literally or more abstractly. growth/development: all serious artists share this goal/ abstraction is certainly not an easy path though some may assume it to be so Unique aspects of Abstraction: Creating a different kind of reality/ based on thought, emotion, imagination—tapping into viewer’s subconscious or non-linear thoughts, associations Emphasis on a few visual elements within one work ---takes viewer’s interpretation away from more illustrational reality. Recognize which elements the artist is focusing on and this can be a basis for understanding the work. Challenging to viewers: Many people want to see something in the work as a way in—but realize the way in may be something like exploration of color for its own sake, like music without words. No easy labels. Requires a letting go, an immersion, allowing your own feelings and gut responses. Artists have to accept some will never “get” their work. Integration of numerous sources: unlike more illustrational kinds of art. Can involve a lot of free association, influence from the visual world, memories, pure impulses of color, line or shape. “Making something out of nothing” – yet there is plenty to work with, it is just not presented in a linear way Wrap-up: Sometimes people think as an abstract painter myself I would not appreciate other styles—but the principles of good art carry across styles. I like to point this out so that people open up more to abstraction, and also to help those beginning with abstraction see that it is not an entirely different world. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Episode Mentioned: https://messystudio.fireside.fm/13 (Diving Into Abstraction Part 1) Summary
A few weeks ago Rebecca posed the question on Facebook, “what has your art practice taught you? Are there things you’ve learned as an artist that help you with other aspects of life? There were a lot of responses that were deep, insightful and passionate. Today we’re going to talk about this topic and some of what the artists said who responded to the question. What does your art mean for you as a person living your life? How does what you do in the studio lead you to be a better person or have a more fulfilling life? I realized in posing the question it is hard to separate out studio practice from the rest of life, or from who we are as people. But thought it would be interesting to get other artists ideas on this. May lead to future podcasts, let us know if you’d like to more about any of these ideas reading the answers was uplifting/ how deeply these artists feel about what they do, central to their lives and who they are. Answers ranged from the somewhat concrete (such as learning to see and pay attention to the world) to others quite spiritual or soulful. A lot had to do with self-esteem, sense of accomplishment, learning to see things through. Probably most people could have gone on at length as their statements were pretty concise and pithy. Not an easy question to sum up, covers a lot of ground. The root of the question: Consider the person you are when making art -- can you and do you access that in dealing with daily life. If not, can be a huge challenge but awareness is a start. some natural, organic change over time though--because you are living it in the studio, a big part of your ife Example— patience, letting things unfold, living with some uncertainty. Letting things go, moving on Is there carry over? These can be big issues—and what we learn from art practice is ongoing—we can glimpse it but forget, over and over. But still there may be progress over time. My own response: my art practice In terms of personality—has made me more trusting and optimistic about life in general –that endless cycle of trial and error and coming through in the end—still learning the big picture--how I process life’s experiences, a loop of input and output, leading to overall deep satisfaction, sense of living a full and self-reflective, life –integration of inner and outer experience. Creative practice and healthy emotional life: Happiness, sense of purpose in life self-knowledge --increased self-awareness on some level: authenticity, what is your true voice; trusting in intuition Self-confidence/self-acceptance /knowing yourself and what you want, what is right in the moment. Helps with business side too. Ability to be happy in solitude and treasure alone time/learning to dedicate your studio time Spiritual aspects: connected with meditation practices, being present, sense of deep gratitude Focus on the moment not the outcome, valuing the journey Humility, letting go, learning that sometimes things turn out best when we step out of the way and stop trying to control everything Lessons learned: Being willing to try and fail, take risks, value of what is learned the hard way problem solving—how to overcome obstacles, “thinking laterally”, letting things evolve Perseverance really seeing the world around us in both visual and conceptual ways Wrap-up: the question tapped into people’s passion for their work—and how much a part of who we are it is. Every one of us can be grateful for what our work brings to our lives in positive ways. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Intro www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes When we are in the midst of things, it is easy to lose sight of the big picture of our own journey as an artist. We tend to focus on the day to day, the ups and downs of whatever we are currently working on, as well as on future goals and plans. But every now and then it’s good to appreciate the path we’ve walked on to this point, how one thing has led to another. Prompted by several recent Facebook posts an artist having a retrospective exhibit gave thanks to everyone who had helped and supported her along the way an artist was thinking about how her initial experiments with a particular medium led to a whole series and the sale of that first playing-around painting. Whether you’re just starting out or have been making art a long time you can look back and connect any number of dots (—when this particular thing led to that—when this opportunity presented itself—when someone encouraged you to try something. ) Reminds me of the Talking Heads song, Once in a Lifetime: “And you may ask yourself, well how did I get here???” True for many aspects of life Esp. for art career may be helpful when things are not going well, discouraged or having rejection to deal with You build a history that can keep you on track/guard against discouragement/give you confidence Keep track of that history in notes, journals, sketchbooks, older work--even unintentionally you leave a long trail of where you have been May be interesting to write or think about more directly: Pondering the journey/questions Where did the art urge originate for you? Who were your mentors? Did you search for them deliberately or did that relationship evolve? At what point did you start to call yourself an artist? Looking back were there breakthrough paintings or insights that pointed the way? What have been the hardest times to keep going and how did you push through? Any/all of these can be explored in journaling or conversation -- helps you appreciate how complex /challenging this path as an artist can be. Give yourself credit for persevering Give others credit for their help and support Nobody does this alone Gratitude—for the people who really see you and understand your needs as an artist—rare and important—family, friends, mentors and teachers Realize that you can be that support for other artists on their path Seeing your art journey as an unfolding story—the big picture—helps you see past any current difficulties. What recurs? ebbs and flows in success, times of focus and motivation/times of searching and transition Path of a particular work of art that ended up being sold or recognized in some way. The chain of events in retrospect can seem amazing—you never know at the start. (personal story of Red Bog—recognized by John Seed—developed rapport with him/wrote forward to our book. Painting itself= warped panel, eventually purchased by gallery owner for personal collection, happy ending.)
Path of a particular choice of medium or other aspect of form—cold wax for me Seeing the big picture also helps you talk about and describe your work in a more meaningful way. Not that you have to give your whole history but introspection generally leads to insights. Our personal voice is the result of our journey so think about how aspects of your art life have contributed-- How have your intentions or goals for your work changed over time? I notice that over time my ideas open up, become more expansive in what I will consider doing, as a result of growth of confidence, a more free feeling. But this only came after years of more narrow focus. Looking back I see how important it was to have distinct focus. Cyclical aspects—what recurs? Themes in your work, aspects of form or content that find new expression over time? Compare a current work with one from ten years ago—what is consistent? Giving an artist talk—a topic for another podcast, but others do find the story of our journey interesting. How have your experiences as an artist led to your current work? Promotion: We all do have a story and story engages other people…what about your own journey could be used to promote your work? Be a little cautious not to lose professional image but indicating how you have devoted yourself to your work is good. Wrap-Up: Losing sight of the big picture is easy to do when we all have so much on our minds in the day-to-day aspects of our art practice -- often thinking ahead to the future but not appreciating how far we’ve come. But our story as an artist is what creates our personal voice and it is something other artists and the larger art world often finds interesting
Public speaking ranks very high when it comes to events in your life that create anxiety. Yet as part of an art career at some point you will be called upon to speak about your work. This could range from an informal gathering of people you know to an interview on widely shared media. Why should you embrace these opportunities and how can you handle them without too much stress? NOTES: Even very professional artists who have appeared on the podcast have approached the idea with nervousness— Even harder when you are physically present Memories of High school speech classes—somewhat random topic, judgement from other students, teacher, being graded on your performance Much different when speaking about what you love/are passionate about, to an interested audience They are on your side and will be forgiving—all glad it’s you up there and not them! Even if you mess up it may be endearing—famous patty Smith moment when she forgot words to Bob Dylan song at his Nobel prize ceremony. She kept her poise, apologized, and continued. Not to say it may not be nerve-wracking! Anecdote about having to speak on a stage at opening Why accept invitation to speak: unique opportunity to connect with people who want to understand your work better. Merging of You and your work—the human connection. This is what to focus on—there may be benefits for sales or other opportunities but best to put that aside, just view as connection, conduit to reach others about your work, intentions, Basic tips— --be as alert as possible/don’t over-consume at an event prior to speech -- nice to have a podium, somewhere to put notes, water, rest hands—pedestal in gallery? --provide notes for your intro given by whoever is doing that --speak slowly!! -- be aware of ums and you knows but don’t worry too much-- they are normal parts of most people‘s speech --be aware of your tone, not preachy-- try to aim for friendly and accessible, a lot of TED talks are good examples, a little humor, aim to be engaging --if possible show slides, much easier with visual aids --if in a gallery move around a little between pieces or at least point out different ones, give people something to look at besides your face --invite questions, admit if you have hearing issues/get help --don’t over analyze afterward—you will always think you sounded worse than you did Big issues—How to gauge your audience/who are they A gallery crowd? (may have more art knowledge) Community group (maybe less) Most audiences are mixed/people with art backgrounds and not Pitch to the middle, don’t assume too much nor talk down to people Quickly explain as an aside any technical or art terms people may not know, for example “Monotype” or say Bachelors of Fine Art instead of just BFA Explain conceptual simply—instead of saying you wanted to investigate/challenge something, give examples of the kind of questions you asked yourself—“I asked myself, how can I work with this idea?” and what you came up with Offer a way in to your thoughts as a PROCESS not like you have all the answers Scripting--How much planning? Notes or not? They can make you sound stilted; temptation to read --there are times when reading is OK—such as a formal lecture Depends on how complex your material is Is there a need to include each step to make your point? Informal talk—best to just practice ahead and use minimal notes You will go off topic but that’s OK Better to loosen your ideas of control and be more natural Biggest plus is to be real, natural, yourself—also very hard in front of an audience. Don;’t worry if you feel like you’re acting—you are to some extent Ways of organizing a talk about your work: Chronological—can be boring if audience doesn’t sense overall themes Chapters—ideas/themes, influences, some biography/chronology, current work Focus only on certain series or ideas Include something about your process Basically what is your story—include struggles and challenges Avoid focusing on what has sold or going on too much about accomplishments, or being impressive—just be straightforward --audience will be sensitive to bragging. Many people have habit of comparing themselves negatively to those they regard as successful. Length of talk, probably you will be given a length. Ask someone to signal you half way and in last ten minutes. Friend of family member can raise a hand part way or something, Wrap-up—Accepting the challenge to talk about your work in any context is a way to be seen as the human being behind the work. Audiences at an art talk tend to be very interested and accepting, non-judgmental. As with anything, it all gets easier with practice. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes
Notes Rebecca speaks with Dan Addington, owner of Addington Gallery in Chicago, Illinois about his perspective as both gallery owner and artist. Dan weighs in on when and how to approach a gallery, how we as artists can best work with our galleries, and his number one pet peeve when hanging an exhibit. http://www.addingtongallery.com/ www.rebeccacrowell.com www.facebook.com/messystudiopodcast Special Guest: Dan Addington.
Rebecca talks with gallerist Dan Addington, who offers insider tips and anecdotes from his years of experience as both a working artist in the medium of encaustic and as the owner of Addington Gallery in Chicago, Illinois. This is part one of a two-part conversation. Notes: Dan Addington shares thoughts about approaching galleries, some good tips when is the right time to apparoach a gallery his perspective on showing older work a bit about his own work in encaustic the days of being an artist prior to the days of internet access the two hats he wears as artist and gallerist importance of updating your website Links: http://www.addingtongallery.com https://www.joannemattera.com/publications Special Guest: Dan Addington.
Intro www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast NOTES: This topic comes up a lot in workshops—"I’m too scattered”— work is all over the place -wanting more focus, direction, way to bring depth to their work. But also said in a positive way-- “I have a lot of interests.” “A lot of things excite me.” In either case, we’re talking about someone who works in a lot of different media or styles First—it can indeed be a positive thing. --A necessary stage of searching at the beginning of your art journey --if you’re blocked –try new things can be good advice --basic attitude of being open and exploratory is good --working in various media can cross-pollinate and be very helpful some well-developed artists work across media and subject matter: Usually conceptually drive—an underlying continuity of ideas, emotions, or which visual elements they are drawn to. Sense of connection, Open to any form that expresses what they want to say. Interests are dealt with in a focused way. Example: Picasso, Gerhart Richter, lots of contemporary artists who work in installation format with many components tied together conceptually Negative aspects: From less developed artists: Scattered, lack of focus or consistent voice, work lacks depth, can seem derivative Use “Is it me?” to decide what you are really connected with, that you have focused on in a sustained way. Recognize that consistency is an aspect of personal voice. The objective judgement is whether the work is high quality, well-developed, mastery of media—this comes only through sustained focus May not be obvious as a rut type of comfort zone (stagnation) gives feeling of change, exploration. Can be defended as this, a deflection attitude for any criticism that the work lacks depth. Comfortable because easier to skim surface than dig deeply. Being in “forever a student” mode is a comfort zone that may impeded your progress If you are in this kind of rut recognize that it involves a lot of avoidance behavior: Avoiding frustration Avoiding criticism Avoiding need to explain or understand the work Avoiding taking next steps in your career and putting yourself out there Avoiding success and the challenges that come with that Lack of commitment means you never have to really excel or challenge yourself Like being unable to commit to a relationship and weather the hard parts Can be hard to recognize in yourself—easy to justify—you have a lot of interests, so many things to try—you’re generally excited about your work and it feels good. You may not see it as a problem. And it is not a problem if you are truly happy with things as they are. It’s your work and entirely up to you if you want to change. Is it a choice or default mode? If you don’t feel happy with it --how to identify this a negative kind of comfort zone? questions: Do you have basic underlying intentions that you bring to all your work Does personal voice show itself in an overall, connected way Are their particular visual elements you explore consistently? Is your work recognizable as yours? Do you find it hard to talk about your work beyond that you like to experiment and play? Have you ever spent time developing the various things that interest you; focused attention? In an exhibit showing of various examples of your approaches, would viewers see a conversation between your various pieces-- or would it seem disjointed? How to move away from this— Central concept is INTENTIONS Identifying what you want in your work provides consistency and focus Re: avoiding skimming the surface, take a hard look at past work-- what felt most like you, what offers most potential What do you think you can commit to exploring in depth? Set a goal to work in only one medium or approach for a period of time (several months + depending on how much studio time you have) or in terms of # of pieces. You may be easily distracted by your other projects—put them away, pack away other materials Make yourself accountable to someone—arrange to show them what you’ve done or have n progress Wrap-up: Experimenting and exploring new ideas definitely has an important role in an art practice. We’ve covered ideas about change in previous podcasts. But it is also a pitfall to change so often that there is little depth or consistency in your work. If you recognize that as an issue for yourself, we hope this discussion has been helpful in moving past that particular rut.
Links Intro Notes; "for everything there is a season"... no one right answer for all times for any one person. Just as in the rest of life, sometimes we need to set some boundaries and other times be open to changes and challenges. Episodes 64 and 65 in March—all about change and its benefits. Today: the legitimate reasons not to change/ some ideas about how creative boundaries can be beneficial. Let’s start with the idea of self-imposed limitations—aspects of comfort zone that can be very helpful / strengthen our work. Focus, developing ideas, going deep. Such as: limiting yourself to certain approaches in the studio: materials, style, subject matter, scale etc working in series sticking with an idea until it is played out (As opposed to limitations coming from outside ourselves such as limits on our studio time, finances, or physical limitations.) We do need to question is they are simply default, fall-back answers? The downside of comfort zone— When thinking of self-imposed limitations in a conscious way: ask yourself: Are you just doing what’s easiest, most convenient Just doing what you’ve always done Its what sells None of these inherently negative but worth looking at more closely—is it what you really want? Re-listen to the Change podcasts for advice if you feel bored or stuck/you know you are in a rut. IF your boundaries seem reasonable and intentional to you, change for change’s sake is probably not going to be helpful. You also don't want to set aside valuable skills you've developed. The term comfort zone—in the art world it’s generally used to designate something we should avoid. Has negative connotations. Not moving forward or being innovative. However Wikipedia defines it as: "a psychological state in which things feel familiar to a person and they are at ease and in control of their environment, experiencing low levels of anxiety and stress. In this zone, a steady level of performance is possible." Looking at comfort zone without judgement, these are some characteristics: You feel mastery with your media You’re expressing your ideas without a lot of struggle Good level of productivity Work is of consistent quality you may not make huge advances but you will maintain the quality of your work organic change can happen more slowly The key is how you are felling: satisfaction, pleasure—positive comfort zone/often called the zone, things are flowing, you are in the groove, you are focused, without anxiety, at ease OR “same old, same old” boredom, feeling locked into a box—negative comfort zone/you are stagnating, negative feelings Positive comfort zone may be more beneficial once you are a fairly developed artist; don't settle for a comfort zone too early Negative comfort zone –you cling to the idea that things are OK because change is scary—self-reflection—the need to be very honest with self You can start to completely identify your own work only as one thing, one approach, media, material. You can pigeonhole yourself and others will too. Wouldn’t you rather have the self-image as someone who keeps growing and branching out over time? Always stay sensitive to when something has run its course Others may see this before you do because we can be blinded by our need for safety Can be very hard to get out of this zone; observations as instructor; artists esp. successful ones can become very invested in a particular thing they do; but there may be an underlying dissatisfaction. Another negative comfort zone is a little different—it’s not doing the same thing all the time but always doing different things. Never committing. This is comfortable because you can always just skim the surface. Always say, “just playing.” Has the illusion of being daring or taking on challenge but lacks depth of true exploration. Topic for another podcast. IF you’re in a positive comfort zone change for change’s sake is not helpful. Resist well-meaning advice to “leave your comfort zone” just because it is considered a good thing. Twyla Tharpe discusses this in terms of “ruts and grooves” in her book, The Creative Habit. With a rut you are stuck, mired into something, lack of forward momentum. With a groove you are moving forward in a smooth and productive way. You have focus—going deep-- But also be conscious of where you may be limiting yourself in a negative way. allow your boundaries to be a little porous. Once in while put them aside and venture somewhere else. It can be fun and energizing to leave a positive comfort zone for a bit—try a different medium, new techniques. Cross-pollination. Personal example of mine in current work: source ideas are shifting. A comfort zone can be your mastery of the medium. Psychologically healthy to avoid a lot of stress. To wrap up—our comfort zones have very positive aspects—can keep us on track, deepen our work, provide focus and productivity. Just make sure they are conscious decisions rather than something you have fallen into and never questioned. And also allow your own boundaries to be a little porous. Once in while put them aside and venture somewhere else. A comfort zone should always be positive, not a box but a place that feels good, good energy, pleasure in your work.
In this week's episode, Rebecca and Ross join Steve Immerman, a Wisconsin artist working in fused glass. Steve discusses his beautifully designed intricate glasswork, how he developed his art practice, his creative process and the relationship between his art and his day job as a general surgeon. https://immermanglass.com/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Steve Immerman.
The need to produce our creative work under pressure from deadlines and other expectations is a common situation for artists. This basic idea can seem so wrong—shouldn’t our art be created in our own time, free from outside influence? There are many challenges and pitfalls involved, and we may resent the entire situation. Yet for anyone pursuing art as a serious endeavor, avoiding pressure is simply unrealistic. Today we'll talk about some practical solutions to coping with deadlines and expectations. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast I’ve been thinking about this ideal world in which we don’t have deadlines and expectations hovering around us and about the fact that probably this has never in all of art history existed for artists. There have always been pressures and demands on us from society at large--economic, personal, even spiritual. Why do we even have the idea that outside expectations are impositions on our creativity? We accept them from ourselves --yet even these are influenced by the outside world as we try to position ourselves (in terms of galleries, exposure, or whatever form success takes for us.) Topic important to right now= I have solo exhibit opening at Addington Gallery in Chicago in about 5 weeks-- need to produce a lot of work in a relatively short time. I said yes to a solo show knowing I would come back from Greece and be in crunch time. Moments of panic but overall, I find it an exciting challenge. Not always this way—it comes with confidence, with knowing my strengths and weaknesses in the studio, having certain strategies. But it wasn’t always something I was comfortable with. It’s a skill that takes practice, like any other. So let’s start from the position that these expectations and pressures are the way it is. How to approach them to stay balanced and on track? Challenges of Deadlines/Expectations Lots of well-known guidelines for dealing with deadlines for business tasks etc. online, BUT harder to apply them to your painting or other creative work. You cannot delegate most tasks Often advised to break the project down into small steps, but that may not apply (other than maybe working on a number of paintings at once.) You can set mini-goals within the project but creative process may not be linear enough for that to work. Your end goal may not as clear as it would be in other businesses. Basically you are doing something to advance your work whether an exhibit, commission, publicity event, etc. but specific end result may need to evolve. So we have to look at some different strategies that work for creative processes: What are the challenges specific to working creatively under outside or inner expectations? Strategies: Give yourself extra time—imagine the deadline is actually sooner than it is. May seem counter intuitive=more pressure—but it’s just a mental adjustment that can give you some wiggle room and more time to evaluate the final work when it’s done. You’re not just rushing to a finish line, you want time to evaluate what you have done. Timeline: Use a rough timeline that allows the project to be done in time BUT honor the creative process—it is seldom straightforward Allow the scope of the idea to change—you may want to edit out some work for a show, or have a smaller selection when applying for a gallery for example. Giving yourself some flexibility is relaxing. Be flexible if deadlines are ones you set for yourself. These are personal goals and that’s important but if it is really not working out it’s not worth the stress. Consider if your life situation has changed since you set the expectation. A friend who was clinging to a self-imposed expectation for her work even though she had been through a major traumatic period in her life. It was simply adding more stress to a difficult time. Be clear about studio time, make sure others respect it, limit distractions, Push a little harder each day than you normally would at the beginning to gain momentum. Work that is underway is easier to engage with than blank panels. Use ways to enhance drying time of oil paintings such as fans, dehumidifiers, alkyd paints Work on multiple pieces at once so there is always something to do If possible engage help for more mechanical aspects of the task—prepping, gessoing, putting on hardware. Pace yourself : If a particular painting is esp. hard, set it aside rather than obsessing over it/spending too much time on it Recognize burnout/exhaustion—accept that you will need some down time--keep up some social life and family time Periodically look at the overall project, sit and look, see the progress you’re making Be open to working a little differently to meet the demands of the deadline—for example using small studies as references rather than working with a completely intuitive/searching approach, working with a theme to provide focus Gain confidence from your own history of meeting expectations: Personal story--Pivotal situation about 5 years ago—potential came up for a large commission for MD Anderson Cancer Center—5 big paintings to be based on specific smaller past works of mine. Very tight schedule at the time but knew it was a huge opportunity. Strategized—ordered the panels before knowing if I would get final approval; put down initial layers in a time when I was home. In between a teaching gig and a residency in Ireland I had about 2 weeks in which I painted like crazy. I was nervous but very focused. When I got back from Ireland there were just a few minor tweaks and they were done by the deadline. I learned that I could do that, I could pull it off. Everybody was happy with the results. Ever since I remember that time when I feel nervous. Do you have a successful story to reassure yourself? Doesn’t have to be art-related. Times when you had to juggle a lot of things as a parent or at work? Wrap-Up: rather than resist or resent the idea of deadlines and expectations, accept that they will always be part of your world if art is a serious pursuit. Dealing with them gets much easier with experience so if you’re avoiding opportunities out of fears and resistance it may be time to jump in and hopefully these ideas will help make it a positive experience.
INTRO: Meeting deadlines and other expectations are part of an artist’s career at almost any level, and they're important when you are aiming to make the most of your opportunities. Working under pressure can make you feel nervous, compulsive or perfectionistic, but on the positive side can also cause you to create at the top of your game. This is a two-episode topic--today we’re going to examine various situations that involve creating under pressure. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca discusses the founding and growth of the beautiful Skopelos Foundation of the Arts on Skopelos island, Greece with Gloria Carr and Jill Somer. They are the forces behind its creation and diverse programming, from artist residencies and workshops to a thriving youth film festival. https://www.skopartfoundation.org/ https://skopelossiffy.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Jerry McLaughlin discuss commonalities in poetry and abstract painting as well as how to approach poetry as inspiration in your own work. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast www.jerrymclaughlinart.com Special Guest: Jerry McLaughlin.
Rebecca and her partner at Squeegee Press Jerry McLaughlin, discuss both the pursuit of excellence in the studio and the pitfalls of perfectionsim in this episode (recorded on the Greek island of Skopelos). www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Jerry McLaughlin.
In this episode, we consider the physical activities mentioned in episode #59 about what people enjoy doing in addition to their studio work. What is the importance of physical activity in a creative life? Lots of forms of art require physical movement to carry out, such as wedging clay, hauling paint panels around, grinding litho stones, carrying supplies for plein air painting into the field... even more sedentary art practices may require periods of stretching and moving to avoid becoming stiff and sore. But the importance of movement goes beyond just being physically fit for work. Today we're going to talk about the importance of movement in our art practices, including exercise but also movement intended to enhance creativity. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Drawing is something a lot of artists do regularly, but for others -- especially abstract artists-- it has been pushed back to a musty corner with art-school exercises or early work in realism. But drawing, including abstract drawing, is an excellent way to keep your work vital and personal. What is the role of drawing in your work, and is it something that you would like to develop? Episode mentioned: https://messystudio.fireside.fm/21 https://messystudio.fireside.fm/68 Piece mentioned: https://www.usatoday.com/story/travel/destinations/2013/04/11/possible-van-gogh-painting-exhibit/2074219/ Relates to discussion about drawing in podcast about Intuition with Nuala Clarke and Joanna Kidney, both find it important part of their process (#68) Drawing def. by Miriam Webster shows the narrow way in which many regard drawing: “the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines” Oxford English dictionary is similarly limited: “a picture or diagram made with a pencil, pen, or crayon rather than paint” “I can’t draw” is like “I can’t cook”—there are lots of ways to approach it and once you find something that works for you, you may want to expand your repertoire Maybe why many current artists prefer the term mark-making/more inclusive –we’ve discussed this when talking in earlier podcasts about visual elements A look at contemporary and modern artists’ drawings may be enough to open your mind if you are stuck in this mindset: famous ones like Cy Twombly, Agnes Martin, many famous painters also have done incredible drawings, too numerous to mention Using non-traditional materials, surfaces, even drawing right on gallery walls— Rocio Rodriguez— Linn Meyers Some contemporary work hard to define as drawing in any traditional sense—for example drawing with wire or sticks huge scale, tiny scale, everything from very expressive and loose to intricate and controlled (Michael Geddis #21) Many painters include drawing within their imagery, done with paint, paint sticks, or other techniques to create lines or marks. Drawing does not need to be a separate category. Why is drawing important? as personal notes: keeping a sketchbook of some sort—can be drawings from life, or non-referential drawing, doodles, marks—accessing intuition, identifying interests, making observations, noting ideas traditional role of drawing as study for paintings/sculptures. Study=exploration; you don’t need to copy your drawings—they are just the first steps drawing may be shared or just for yourself; tends to make people self-conscious like handwriting but lots of us doodle, not meant as serious art, but can feed your other work, it is not unimportant just because you don’t include it in your main work be open to drawing from reality even if an abstract artist but don’t limit to that, and same goes for realist artists—try some more abstract kinds of free mark-making. You can learn from either direction. as personal expression—explore a range of types of mark-making—different media, techniques, range of fluency/control, range of emotional expression, asemic writing as part of personal voice—discovering kinds of marks that seem like you, that may include imagery or symbols, outlines, geometric forms—use these freely in abstract work Tips for working with drawing: pay attention to what others do in their work, what do you respond to? think of drawing as a way to add visual texture as a way to add structure—to lead eye through the work consider where a line or mark could make a real contribution, and what kind of mark that would be www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca talks to Keith Wilson, an artist from Northern Ireland, about his working process and his way of finding importance in his immediate surroundings. http://www.keithwilson.co.uk/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Keith Wilson.
Rebecca discusses the role of intuition in abstract work with Nuala Clarke and Joanna Kidney at Ballinglen Arts Foundation in Ireland. https://www.nualaclarke.com/ http://www.joannakidney.com/ http://www.ballinglenartsfoundation.org/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guests: Joanna Kidney and Nuala Clarke.
In this episode, Rebecca speaks with us again from the Ballinglen Arts Foundation in County Mayo, Ireland where she is on a 3-week painting residency. Today she’s going to talk a little about the residency in general and specifically about a project she is working on there, a series of paintings based on a poem by the Irish poet Seamus Heaney. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast A little background about Ballinglen /an artist residency est. in 1992 to bring established artists and younger artists of recognized ability from Ireland and internationally to North Mayo. The benefit to the community was recognized from the beginning—an area of economic downturn, population dwindling. The latest development is the construction of the Ballingeln Museum of Contemporary Art to house the collection of art donated by fellows and to host curated exhibits. Fellowships—6 weeks (can be divided) and include housing and a studio. 4-5 artists at a time/quite competitive esp. as profile getting larger w/museum construction Since 2013 also hosting week-long workshops led mostly by current or former fellows. Typical day for me—in the studio most of the day with time out for a walk. About a mile and a half to the beach; other good places to walk also Early to bed/no wifi or other distractions in the cottages. Enjoy socializing with other artists when that happens; but everyone works very hard and are focused on their work My project: Invited into a 2/person exhibit with Jerry to be based on the theme of response to poetry/poetry of our choice, no mother parameters. Not a big poetry reader myself but have been drawn to the work of Seamus Heaney B. Northern Ireland 1939/died Dublin 2013 The Nobel Prize in Literature 1995 was awarded to Seamus Heaney "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past." His work contains many references to his rural upbringing as well as to modern day Ireland—sometimes very down to earth, other times spiritual references, sometimes shifting within the same poem. Dualities of material/transcendant, life/death. Topics of memory, journeys, transformation I chose his long poem in four parts: Squarings—reference to marbles/ “anglings, aimings, feints and squints you were allowed before you’d shoot” overall shifting perspectives throughout the poem on many levels The 4 sections are Lightenings (which he explains as the “phenomenal instant when the spirit flares with pure exhilaration before death.”) Settings (referring both to places and the act of anchoring things, memory) Crossings (journeys/transitions) and Squarings. Written after the death of his parents and themes of memory and the journey of life are throughout. Seems like a search for meaning in life. The whole poem has a particular structure such as 12 lines in each poem within it, 12 sections in each of the 4 parts, which he said came to him intuitively. Not much analysis written about the poem—I looked—but that was good actually because I’ve had to really study it. It keeps revealing more every time I read it. (Reassuring to me that I can still read deeply in this age of quick reads and overload of info.) So the reading and re-reading is part of the whole process, every day. How to respond to the poem which is very complex, full of imagery yet also ,much that is hard to pin down. Decided to do 12 paintings but beyond that not to confine myself to numerical structure of the poem. It is actually very freely constructed with poems in one part referring to other parts. Certain moods and images struck me from the work and these I keep in my mind in a general way but trusting that some essence of the poem will come through without forcing. Not illustrations but free interpretations. I’ve finished 7 so far— In terms of form and content: An open-ended feeling—what techniques will capture the content? Emphasis on line—related to the act of writing poetry? My own use of line Flat, graphic quality, some remind me of prints—they are done on paper which I will eventually mount but these aspects of form also relate to poetry in book form Some symbolic drawing into the surface related to specific images from the poems Strong shapes and contrasts—relate to the dualities of his themes The abstract artist Sol Lewitt did a series of drawings to accompany the poem in 2003. Heaney said of these: “ They have the right balance of complete confident pounce, and momentary delicate shimmer.” Very different than my own—his are based entirely on the grid and contain no imagery; but I aspire to the same goal-- Very interesting project /eager to extend to more poems before the show and who knows after that. Working with poetry seems to open new doors for how I approach the work.
PODCAST—Contrast and Personal Voice This week Rebecca is speaking with you from Ballinglen Arts Foundation in County Mayo, Ireland, a place she returns to every year for teaching for her own time to paint. She shares some of the ideas that were the focus of her advanced cold wax workshop there, and we discuss how they relate to personal voice in your own work. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast My 7 th time here and the 2 nd or 3 rd time I have taught only more advanced students, those that have used cold wax for a time on their own or in other previous workshops A little about the workshop—a full week, includes some day trips, lots of independent work time, review demos, PP presentations, discussions, individual meetings, very busy week. More advanced students benefit from some structured exercises rather than just trying to work with the techniques at intro level. Class structure based on several related ideas: importance of contrast both in visual elements and in the duality of concept. And the relationship of form and content in getting all of this to work together. Complex so let’s break it down in the way that I presented the material to the class. Starting with visual elements—asked to focus on 3 (imp. of limited elements in abstraction) Explored these as studies, in a number of small paintings on paper. Emphasis on CONTRAST.nContrasts of color, value, kinds of mark-making, types of textures. Then introduced idea of dualities—working with CONTRAST in terms of ideas. Dualities=opposites yet dependent on one another such as growth and decay, light and shadow, organic and human made, anxiety and release. Dualities provide more interesting ideas in an abstract work than single ideas alone. Students did some more studies using the contrasting aspects of visual elements but now bringing in ideas and meaning from a chosen duality. Accompanied by discussion of the alignment of form and content—the form = objective aspects of the work, what can be factually described--how do the way you use the visual elements, the medium, the principles of design Content= meaning, idea, mood How does the form you are using support the content/they should be interdependent and aligned. For example in a painting meant to express anxiety and release, there could be contrasting aspects of color and line that would relate to each emotion. many of us operate with awareness of dualities in the back of our minds. This can be very intuitive work. But bringing the process to light also seemed helpful in providing ideas and a clearer sense of direction. How does this relate to personal voice? We covered the basic idea of personal voice in episode 20 We’ve also touched on the idea in various other episodes that most forms of artistic expression such as music and writing have a rise and fall, times when the action is high energy and other times calm, some kind of conflict and resolution –provides both structure and energy Consider how to approach your current ideas and work with the idea of dualities and contrast. Can be very energizing and open up new ideas. Also in describing/presenting your work it brings in more interest and focus. More conceptual. Example you may do beautiful ethereal abstractions—hard to describe and may be so subtle that they fail to attract much notice when presented in a juried situation or to a gallery. You can find yourself backed into a corner of "this is what I do" Could you bring in a contrasting aspect to the work? Perhaps consider the concrete world in relation to the ephemeral--this does not deny your interest in the ephemeral but gives it additional depth and meaning. Part of the painting more solid, or maybe diptychs of contrasting panels? Or simply exploring the duality in completely separate works. Idea of chaos/order—many artists fall into one aspect or the other but what about finding a way to include both sides of the duality in your work? Ordered chaos, or broken order?
In the last episode we talked about the importance of change in the creative process, and in the one prior to that (about blocks and lack of motivation) we mentioned that these are sometimes harbingers of change. Given how important it is in the big picture, what are some reasons we may resist it? The outside world of galleries and collectors can be a big reason we avoid change or worry about it. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast For artists that rely on sales this is a major concern. Known for something, making sales… what kind of response will you get if you change directions? Legitimate concern---yet I don’t feel it is right to let that hold you back. Once again allowing for risk-taking can lead to better results that you might imagine. We fear rejection yet if the work is better, we should proceed. It can lead to a new audience, and being seen in a better light, perhaps more developed, sophisticated, on a new level Hardest to navigate is the transitional phase when you have not yet hit stride with new stuff. Be patient and open to continuing to show older work until the new stuff has reached a similar level of accomplishment. General advice for navigating public showing of new direction: GALLERIES: may mean loss of a gallery—but galleries need to serve us as creative people just as we serve them with our work. Part of that is giving new work a chance. But even if the gallery goes along with it, it may not be right for their clientele. No guarantees with change. Need to trust in the process. It may also be a welcome change, bringing in new collectors or reviving interest from older ones. Shows your growth and seriousness you give your career, you are not just producing IN FACT the change may not be as dramatic as you perceive it to be, or there is still strong connection to older work so both may be shown together (Atlanta show) Changer is internal as well as external and you may feel it more than others see it. Big noticeable is a risk worth taking--such as moving from realistic landscapes to non-referential abstract work –could be seen as positive, interesting move by gallery OR flat out rejection. Be prepared for either. Put your work first. Know that it will find its audience. Make sure the new work is as well-developed as older stuff; don’t try to show it too early in the transitional phase or you may impede its acceptance For already-scheduled show: do you need to focus on getting the new work to the point of exhibition? It’s the usual urge--we tend to think our current work is the best and want to show that. If at a commercial gallery get their input and realize it’s a business; they may decide to hold off on the newer work or mix with older. Not good to pull a total switch if direction just before a show. Allow them time to adjust to the change if they do not embrace it. save out enough of the older work if necessary. Send images of the newer work to get the response. At a self-curated show/noncommercial—much more leeway. Set your goals and go for it. If you need to include older work and newer work in a show it can be presented as two different series-- allows viewers to make connections between the two. Consider making separate sections on your website for the two bodies of work but if not clearly related, let the older work drop off as soon as newer stuff is well underway Know that you may be asked to go back to an older style by a collector or gallery. As in, “can you do some more of those realistic landscapes?” how will you respond? Maybe fine if you’re not firmly settled into new approach, OR some people do work in more than one style, always. Individual decision. Conclusion: change is a necessary process and try to embrace it in positive ways but be prepared for some obstacles in its marketing. They may or may not happen—BUT if it’s truly a change for the better believe that good things will follow.
The creative journey is never a straight path and all artists go through times of change in their work. These are necessary but can also be frustrating and painful as you head into the unknown. Today we’re going to talk about times of change in your work and some of the challenges that artists face, including the experiences of one Chicago painter who has shared her struggle with Rebecca. http://www.joangearystudio.com/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes: “Nothing is constant but change”—good mantra for those of us in creative fields Change is holistic—affects your work, and how you view it, your market, your opportunities. Relates to previous podcast about blocks, which can be related to resisting change Necessity of change for growth, keeping ideas fresh, avoiding repetition and boredom—as artists we recognize this need and yet may shy away out of concern for other’s reactions—galleries, collectors, our own circle of family and friends I see it in workshops—the urge to move into abstraction –takes time Shows true dedication to the process Stressful if you have commitments to exhibit in the midst of change—wanting to show new work but not sure if you can pull it off in time. Go into some strategies for this in next podcast introduce Joan Geary who recently shared her struggles with change with me via email. (Friend and former student in cold wax workshops who has been struggling with change—desire to find a more personal voice and way of expressing her ideas.) Long interested in expressing light in her work but had not found her way in technical terms. Issue of form and content—cold wax artists tend to work most successfully with aspects of texture and numerous layers; many paintings tend to have a very solid presence. There are those whose work emanates light (JMS) but it’s important to find one’s own way Joan was challenged by a gallerist/friend to take her work to a new level. Felt like criticism at first but J. also saw the need herself. Realized she was stuck in a mode of trying produce work rather than keeping on exploring and growing. (Very typical and easy trap to fall into with demands and pressures on us.) Studied other painters such as Helen Frankenthaler and Emily Mason --ended up developing a new technical approach in her cold wax work, involves pouring paint onto the panel. Involved a LOT of trial and error, frustration, despair. Technical issue of finding right consistency and additives to allow paint to adhere. Chipping and flaking issues. Did research, tried a lot of things. Worked on this for about 6 months before achieving any success. Will post the painting that was successful as a result of efforts. Impressive amount of focus and determination. All while under pressure with 3 exhibits on the horizon. Excellent example of what we talked about in the podcast about being blocked. We have to be open to change or stagnate. But as Joan said, growth is painful. How to distinguish change from simply being too scattered, which is a concern for many artists. How do you know you are growing instead of spreading too thin Look for connection It can start out as random but sometimes random means intuitive—do you keep on with the idea? Ask if it feels right for you, is there something truly intriguing? Instructor once gave me a compliment -- he could see a logical connection from one group of work to the next—showing exploration, moving step by step –done intuitively, I was not aware of it. But seeing the connection was encouraging. ask if it feels right and sincere to you, while allowing for a wide view of yourself Try and see the purposeful reasons for change, it can help to define it – Take your time, no rush to get feedback or show the new work Sometimes you need to digest it alone for a while; resist urge to seek validation from a lot of people right away. Social media validation is easy to come by and can be too influential. Talk to someone you trust or keep it around long enough to feel you trust it yourself. The time of creating new work/transitional time/you are vulnerable Not to be afraid, just know that it may take some time to really understand what you are doing. The most significant changes take place somewhat slowly, organically. Can start with bold moves but takes time to understand and integrate. Realize it can change how you are viewed as an artist in positive ways. In conclusion, change is integral to the creative process, welcome it, respect it, give it time. Holisitc, affecting not only the work but how it is seen, by whom, how others see your work
www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes: PODCAST—Keeping it Going Intro: Several listeners have asked us to talk about how to stay motivated and on track with work in the studio. Maybe it is a reflection of the winter doldrums (which we talked about last week) but blocks and down times can happen any time of year. How do you cope with feelings of boredom and frustration that make it hard to keep working? A big topic with no right or easy answers What’s the main issue? Is it actually a problem or is it your attitude and belief that it is a problem? We think of blocks or times of low motivation as problems when holding up an ideal of always being on track, motivated, productive but is that realistic? Almost nothing in life is constantly rewarding and interesting There really are no standards of how productive you need to be—the idea that we need to paint every day can be an impediment to natural ebbs and flows Give yourself a break--consider that you are creating your own path, making something from nothing, a difficult challenge to always stay on track. Part of the creative process is incubation; sometimes just recognize that being stuck may mean you are on the threshold of something new, it’s not a bad thing, you still need to push through but you are not on a timetable (unless you have deadlines) It still may help to just give yourself time off --you may be able to find clarity then A few days or weeks apart from the studio does not mean you have failed What else causes you to be blocked: Resistance to some new idea that needs to come through Being pushed in a direction that doesn’t feel right by something outside yourself-- major cause of being blocked Recognize if you are feeling pressure from a deadline, something with a gallery, some positive or negative feedback that is getting in the way— Examine that, discuss it with someone Trying to repeat yourself—a big one. A really good painting can shut you down. Extract the ideas that interest you from the piece, it may help to put it away and not focus on its visual aspects –example from my own work Being afraid to totally change the painting—you don’t owe it to anyone to keep anything less than what you want Make a radical move Don’t second guess the urge to make change, sometimes you really have to wreck it first/creative destruction A “pretty good painting” –the temptation to check it off the list for paintings needed for a show or other commitment—but inside it does not satisfy you, may be hard to acknowledge that…. Have several going at once so you can move from one to another. Wrap-up – Ross emphasises the importance of risk taking in overcoming creative blocks Part of creative process, does not have to be a negative thing though it can feel that way –deal with it in a way that supports your own path and not someone else’s ideal of what “artists should do”
Rebecca and Ross discuss the difficulties of dealing with the extreme winter that many artists are experiencing. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Podcast notes: Getting through Winter Intro: A lot of our listeners live in places that have had a very difficult winter this year with lots of snow, below zero temperatures, and bad roads, and all of this means added stress, challenges and time-consuming chores that can interfere with the more creative aspects of life. Last week Rebecca asked our Facebook friends to comment on how they are coping with this difficult season. Today we’re going to discuss some of their answers and strategies— Winter in Wisconsin/upper Midwest--what that has been like March especially frustrating since it is spring elsewhere the realities of things like the need to shovel one’s roof, cars that won’t start, impassable streets etc. A few people weighed in from the opposite extreme of climate, very hot weather such as in Australia winter—any extremes are difficult Answers from facebook post— Winter as a time to hibernate, create, excuse to say no to things and focus on your inner life Works best if your studio is in your house And if things are basically settled and peaceful in your life Means accepting a lower activity level and smaller projects or level of ambition; enjoying a hibernating feeling One person commented that an artist’s work is always going on even when not physically making art—planning, reading, thinking Some draw inspiration from winter, such as using warmer palette or finding beauty in the starkness Difficulties: Suffering from SAD and isolation Lack of motivation Lack of exercise (other than snow shoveling!) Feeling blocked and struggling with difficult feelings of lack of worth for the work as result of emotional stress Physical difficulty getting to studio’ Frustration with deadlines that still have to be met Lack of daylight Unable to have usual ventilation/doing things outside/ interruption of usual routines to deal with weather, hard to keep a schedule Suggestions: Scale back, Accept that smaller projects done at home may be necessary at times Not planning big projects or shows; but of course, this may not be practical—life goes on Imagining this ahead of time and planning/getting set up, realizing that it may be hard to motivate from the beginning once winter sets in Look for some way to do exercise—stationary bike or other equipment mall walking, x-c ski Even a short break if possible, in better weather can help Reach out to other artists in your area, even a call or email can help Move
This week Rebecca talks with Stephanie Dalton, an Atlanta, Georgia artist who shares her experiences of grief and loss following the death of her husband Robert Cowan last May--including how this has affected her creative process. We really appreciate Stephanie's openness in discussing this difficult topic, which she offered to do in the hopes that it will help others who have suffered a similar loss. March 3 marks Rob's 53rd birthday and their 26th wedding anniversary. Stephanie asked that we broadcast her interview on this day as a way to honor her late husband. Artist website: http://daltoncowan.com/ http://daltonprojects.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Stephanie Dalton.
A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST notes: Saying YES: how to decide Follow up to Pacing Podcast— Intro: A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? Talked in previous PC about pacing and our inclination to say yes ; overload from an abundance of opportunity’/ meeting your personal needs for time and energy What can you say no to and not hurt your good trajectory? What is smart to say yes to?? Best Attitude: A lot of this is guess work…do your best to research, understand -- but know we all make poor decisions at some point as well as good ones. Don’t beat yourself up for bad ones—this is all unknown territory as we go forward. Artists encounter a lot more of these kinds of decisions than many people. Many so-called opportunities are presented as sales pitches. A good sales pitch that you say yes to is aimed at something you actually want and is not inflated or dishonest Considerations that might lead to a NO: Not meant to be overly negative, just to help you make decisions. Is it legitimate? Previous PC about scams and schemes/has been discussed; avoid pay to play situations unless co-op, art fair Is it mainly Exposure: so often the carrot dangled in one form or another. Does the opportunity actually allow your work to stand out in some way? There are a lot of publications, vanity galleries, solicitations to show at art fairs etc. Will you just be lost in the crowd? Or is there something unique/better about this particular situation? Offering “exposure” alone is generally a red flag that you will not be compensated in any real way Putting up work in restaurants/banks etc. Be realistic, do your research. Donating time /art work: often uses exposure as hook. Only participate if you actually want to support the cause or there is tangible benefit to yourself. Are there other aspects of an offer that sound good that may not add up to much? Don’t be swayed by things like a New York location unless it is a recognized and legitimate gallery. A line on a resume is only that; meaningless if there isn;’t substance behind it that you can really use in publicity, self-promotion Overly time consuming: Very important yet hard to judge ahead of time if it is something new. Like house repairs—figure it will take at least twice as much time as you expect. If you suspect it will take too much time it probably will. Be wary of people trying to convince you it will be simple or easy. You have a Crowded schedule: related to the above Financial considerations: legit opportunities may still involve $ outlay—such as juried shows ---shipping, framing fees. Weigh possibilities of return on your investment (sales) or possibility of other gain. Will this take you anywhere? Example: Participating in group show at gallery—may lead to representation there, or sales. Juried show less likely. Quality of opportunity: is it respectful of your work and your experience? Will it add to or detract from your professional image? If you encounter really poor behavior once you agree, feel OK about withdrawing even if it means accepting some loss; cut your losses-- BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your focus on what you want for your art career. For ex: if trying to get into a commercial gallery, building your resume for a while with juried shows in art centers etc. is good. But you don’t need to keep entering juried shows for years. Recognize when a stage of your career has served its purpose but is over. (juried shows, teaching workshops in venues that underpay, showing in community spaces in which you have to do all the work of publicity, reception etc.) Avoid stepping down—A gallery contacts you with interest; look at their website and have doubts about the quality f work they handle. This becomes a pretty gut response over time Say YES when: You have the opportunity to do something with a legitimate, respected venue You can identify clear benefits that you can be pretty sure of happening You have checked out the situation with an objective mindset (online, talking to other artists, evaluating your own experiences) You understand and accept any risks involved The opportunity suits your overall goals It fits your schedule Your intuition says yes—that does play a role but balance it with these other considerations Wrap up: Again, be realistic about the outcomes that are likely, do your research, avoid being overly swayed by sales pitches—there are lots of great opportunities but sadly plenty that are aimed at taking your time and money.
What activities, passions, or interests do you pursue outside your studio (art related or otherwise)? Do you think they feed your main work or focus? Rebecca and Ross discuss answers submitted on Facebook, as well as their own thoughts on the subject. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST notes: merging art and life Ross Intro: A while back Rebecca posed this question on Facebook, what activities, passions, or interests do you pursue outside your studio (art related or otherwise)? Do you think they feed your main work or focus? The answers poured in and today we’re going to take a look at some of them-- Why I asked this question: Wanted to say something about the wholeness of our lives as artists; artist is such a large identity/passion that many of us think only in those terms. But there will always be crossover influences if our art is about who we are Also we need to get out of our heads sometimes. Was going to talk about this from my own perspective but too limited. Curious about people beyond the usual painting postings on Facebook. What else are they passionate about? Huge range of answers… volunteering with various causes …making collections (fountain pens, found objects, old books) …studying the design of Ferraris…raising bonsais… …storytelling…environmental causes such as radiation protection, sustainability, working with the homeless…… physical activities including tennis, horseback riding , weightlifting, sailing, mountain biking, rock climbing, croquet, ;pickleball, fencing, various kinds of dance Influence from professions—psychotherapy, interior design, costuming for stage and film, Also mentioned: synesthesia, the connection in the mind between one sensory experience and another/ automatic and totally convincing ( a certain musical note = a certain color. ) Ross points out that synesthesia can occur naturally, but an also be chemically induced or a product of stress, experiences which have influenced artists. Not a voluntary interest but one with implications for art making/ part of the bigger picture of who we are and how it affects our work. Also some commonalities in the answers, lots of repeats which I will get to in a minute. Some people addressed the 2 nd part of my question and some did not—the connection between these activities and your art. I assume that other things in life feed people’s work—how much of his happens in a conscious way? Could it be helpful to make more direct connections/ Part of making your art personal and unique is mining these passions for ideas Thinking about personal voice and direction here. Finding direction and voice is a quest for many people esp starting out experienced artists might ask themselves, what can I bring into my work that moves me from the rest of life? New direction and ideas always important. Connections may be direct or indirect. Examples of direct connections—from responses Being in nature: close observation of surroundings, noticing light, detail, feeling a spiritual connection/content. Physical activity: (weightlifting) relates to being fit for large paintings and maybe on a subtler level the physicality of moving paint around ….rock climbing—the practice of in-the-moment intuitive decision making, being totally present. Writing: using words to expand creative ideas. Travel—exposure to different cultures and visual experiences used in art work. Music—influences from rhythm and mood, improvisational music and jazz as related to intuitive painting, collaboration in playing with others. Gardening and clay work. Looking at art in museums, researching materials, taking workshops-- obvious connections. If you don’t think there is a connection--Ask yourself what intrigues, you about one of your interests and it may lead directly to some new art idea. Ex: figure drawing group —challenge of rendering form light/shadow, use of brush. Ex: collecting stuff—besides enjoying the objects you collect, is there something about the act of collecting /organizing/arranging that could enter your work? Ex: birdwatching—movement, patterns, color, delicacy/strength. Ex: gardening—the cycle of planting, growing, maturing, dying back. Could your work be enhanced by being open to your interests as a whole? No need to push, simply set it as an intention. Summary of the brief and unscientific survey: Most Often mentioned: being in nature, hiking in nature Yoga, meditation’ Photography Some kind of music connection—participating or listening Physical activity, exercise, sports Volunteering Reading Writing Travel Some help to slow down, get centered/grounded, connect with inner self, connect with nature have a meditative aspect – feeding the inner self, being present. Some are stimulating, energizing—being active, playing music, working with people, travel. Some directly related to art in obvious ways –photography, drawing, experimenting with materials. Many people mentioned a range, aspects of all of the above – My takeaway -- our lives are made up of many parts, and art has the potential to be the expression of the whole not any one thing but that general feeling of possibility and curiosity, some combination of what we make for ourselves and what life has served up.
Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST—Pacing yourself In the big picture and more specifically… Managing your art life can be overwhelming. How to avoid burnout? Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands, negativity PACING In the big picture—the need to maintain creative energy—what do you need to nurture that? Many of us work constantly—the pitfall of self-employment. Some of it is what we love ….but a lot of it is tedious stuff. So many things we have to do and be good at when we are both creating and marketing our work---a huge job The issue of cutting back—when does that time come? How does it impact you or what do you fear about it? Pros and cons == Pros: ease of stress and pushing yourself Possible health benefits as a result Focus/concentration not as dispersed Cons/fears: Financial strain Loss of momentum Isolation from other artists “Not doing enough”—work ethic My mom used to say accusingly, you do SO MUCH Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask ourselves what we really feel about the big picture. Aspects of being creative people that encourage us to always do more: take on challenges, push our limits, say yes to opportunities, want to communicate, get our ideas out there, teach, write, mentor. Outside validation/success How can you pace overall? Set boundaries: answer emails for a set amount of time; schedule studio hours, take a day off a week from business. Not easy!! Julia Cameron’s artist dates? Once a week something fun to replenish what she calls your inner well--play Exercise—esp. Anything that takes you outside in nature Maybe taking an extended breaks–a true vacation Being aware of your own burned out feelings—this can be tricky—they can be camouflaged as depression, even feeling sick (stress can do this to you) Recognizing perfectionism, pushing yourself when it isn’t really necessary…can someone wait for that email, is what they are asking you to do actually unreasonable? Adopt the attitude of “I get to…” rather than “I have to…” Recognize your own role in whatever overload you find yourself in, lern from it, be grateful for an abundance of opportunity— Can you schedule things better? hard to match a calendar with what it actually represents—scheduling things too close together. Looks doable on the calendar, but how does it actually feel in reality, never hurts to add an extra day PACING for specific projects, deadlines etc./dealing with overload anxiety Use lists, calendars, gather appropriate information so things don’t blindside you Evaluate where you’re at day to day—are there days you can take a break? Do it! Give yourself time to take a walk, read, watch a movie, see friends, do something for yourself every day Prioritize, break things down, try to see your progress every day Delegate, get help Ask for more time only if you really need it To stay emotionally strong during times of overload: Look at your own history—don’t you always come through in the end? Then stop worrying that this is the time you will fail to get everything done Recognize that you can have extra stamina when needed and it won’t kill you Remember your end goals
Rebecca is preparing for an upcoming exhibit in Atlanta, Georgia. She talks with Ross about her process and shares tips for artists preparing for a first show. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Podcast notes—exhibit prep Focus for the podcast on a show where you have 8+ pieces; a small group, two person, or solo show Getting a show: Are you ready?? Request from your gallery if not asked Proposal to non-commercial space = find out requirements, write proposal/statement Consider how much time you need to produce the work Exhibit categories: Group show with colleagues at non-commercial space Group/2 person at a gallery --they will probably choose who you show with More and more common to NOT have solo shows Be open minded about who they pair you with STEPS to a show: How much lead up time are you given, varies from over a year to a few months Maybe a theme or just a selection of your work Early on: Find out the expectations for the size and number of pieces; this is usually flexible; if you want to include something you are already working on Ask for a timetable of when the gallery will want certain things: these include list of pieces, prices, artist statement, publicity photos (work and you) put these into your own calendar Ask if you have any $ obligations for the reception/costs/announcements Will there be an artist talk Date of opening reception--Think about whether/if you can attend. Lay some groundwork for travel, clear the dates, etc. Publicity: Usually they will want some advance publicity materials even if you are still working on the paintings—send image you think will be included (anecdote) Always good to have some bio pics on hand/you in studio etc. Send Updated resume and bio—check to see if they are using something out of date; sometimes they don’t ask just take from the web Closer to the show, or according to the timeline: Self-promotion on social media; don’t rely on the venue to do it all Artist statement specific to the work; is there a theme, something that ties it together? Listen to our podcast on the topic, Choose the work or the venue to do that—if you do it, you want cohesive but with some variety; try not to include anything you don’t consider as good as the rest just for the numbers. Price list—consistent with prices elsewhere and within the list itself Double check for accuracy Mention to gallery if you are raising prices from what is in their current inventory Most galleries can adjust numbers/sizes to what you want to send, don’t be afraid to ask Prep the work: Framing works on paper/unless frame is part of the overall aesthetic, keep it simple/neutral Preparing panels and stretched canvas—framing not usually necessary for anything but small work; small work maybe/maybe not, consult with gallery Wood panels—sand and clean up, wood treatment up to you Canvas—touch up stains and splatters, somewhat optional depending on the aesthetic of the work, clean vs. expressionistic, opinions of gallery Wire the back, use good wire and d-rings, no clip type hangers or cup hooks Sign work somewhere, back/front options Title Copyright symbol and date/optional Wrap for transport of shipping/nonstick paper or foam over the front; encase in bubble wrap ---allow plenty of time Can just use blankets if transporting in car but best to wrap in plastic at least. Consider how you would deal with the work if your car broke down or was in an accident. Will you need to bring it into a hotel overnight if travelling in extreme heat or cold? Decide what to wear to the opening! At the reception: do your best to be friendly, chatty Be on time Look nice Don’t be discouraged by lack of sales at opening Ask gallery person to introduce you to people/ they don’t always think of this It’s tempting due to social anxiety, but do not just ang out with your friends or drink too much Do not pass out your own business card After the show is underway: Check in with the gallery once in a while but don’t bug them; sales take time Continue some self-promotion
Rebecca and Ross apply the Creative Problem Solving process to finding possibilities for increasing your art income. Follow along the CPS steps at http://www.innovationmanagement.se/imtool-articles/the-basics-of-creative-problem-solving-cps/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss how to write a good artist statement and why they are important. art statement generator: https://www.artybollocks.com/generator.html www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Every artist is expected to write about their work--including emails, artist statements, and proposals. Rebecca and Ross share some tips to improve your writing and also thoughts about more personal writing to enhance your creative process or as an art blog. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss choosing a workshop and how to get the most out of the workshop experience. www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast
Rebecca and Ross review their first year of producing the Messy Studio Podcast and extend thanks to their listeners. It's been fun and successful! They discuss past guests and topics, and their goals and plans for the future. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss how to deal with older work, slides, and current technologies for storing and organizing images of older work. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
In this wide ranging discussion, Antrese Wood from The Savvy Painter Podcast joins Rebecca Crowell to talk about podcasting, technology, and making art a career. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Guest links: http://antresewood.com https://savvypainter.com/ Special Guest: Antrese Wood.
Rebecca and Jerry McLaughlin talk about how the personal identities of artists can shift with changes in their lives and work. www.squeegeepress.com www.rebeccacrowell.com www.jerrymclaughlinart.com www.facebook.com/messystudiopodcast Special Guest: Jerry McLaughlin.
Rebecca and Ross discuss how and why to title your work. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
This episode is a sneak peak at the new Messy Studio video series! Rebecca and Ross talk about creating art with a limited budget. Video will be available soon... www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca sits down with her friend and fellow artist Sally Bowker. Sally worked for years with painting, drawing, photography, and mixed media. In her later years she has departed from these more tradition art forms to expliore the world of digital media and Photoshop. Guest artist website: http://www.sallybowker.com/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Sally Bowker.
Rebecca and Ross discuss common scams and schemes in the art world. www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast www.artbusiness.com/artist-pay-to-play-list http://newamericanpaintings.com http://studiovisitmagazine.com
Rebecca and Ross discuss ther tricky business of how to value and price your work, unofficial rules of the art world and tricks of the trade. www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast
Rebecca and Ross dive into the nuts and bolts and explore the process of bringing experiences from unique settings into the studio. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca returns from Spain and sits down with Ross to discuss the process of absorbing new places and experiences which can later be incorporated into artwork. www.rebeccacrowell www.coldwaxbook.com www.facebook.com/messystudiopodcast
Janice Mason Steeves joins Rebecca Crowell once again to discuss their workshop in Spain and the advantages of teaching, learning, and creating abroad. Janice also shares plans for her upcoming Workshops in Wild Places. Guest Website: http://janicemasonsteeves.com Flores del Camino: www.floresdelcamino.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Janice Mason Steeves.
Rebecca Crowell and Janice Mason Steeves discuss their adventures in Spain, the local art scene and spiritual culture, and the workshop they will be teaching. Guest Website: http://janicemasonsteeves.com Visit Castrillo de los Polvazares: https://www.airbnb.com/rooms/18642410?location=Flores%20del%20Camino%2C%20Retreats%20%7C%20Pilgrimage%20to%20Santiago%2C%20Calle%20Real%2C%20Castrillo%20de%20los%20Polvazares%2C%20Spain&s=lQUCL84x www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast Special Guest: Janice Mason Steeves.
Rebecca and Ross discuss what draws people toward particular forms of expression and how to choose your own path. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross talk about important ways that working in series can enhance the creative process. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross talk about building self assurance and confidence, especially for artists just starting out, or when creative blocks occur. . Previous episode mentioned: https://messystudio.fireside.fm/24 Books Mentioned: Free Play: Improvisation in Life and Art-- by Stephen Nachmanovitch
Trust the Process: An Artist's Guide to Letting Go-- by Shaun McNiff
The Artist's Way: A Spiritual Path to Creativity--by Julia Cameron
www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
What do you envision for your best work and what should your focus be in order to improve your work? Rebecca and Ross discuss looking at your work with a critical eye while treating yourself like a friend and enjoying the process. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Book mentioned, Trust the Process by Shaun McNiff
Another listener suggestion! What personality traits do artists tend to have in common? Rebecca and Ross discuss some typical characteristics of creative people. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com@messystudiopodcast Articles referenced: The Creative Personality by Mihaly Csikszentmihalyi/ Psychology Today https://www.psychologytoday.com/us/articles/199607/the-creative-personality 18 Things Creative People Do Differently by Carolyn Gregoire/ Huffington Post https://www.huffingtonpost.com/2014/03/04/creativity-habitsn4859769.html Books Mentioned: Free Play: Improvisation in Life and Art-- by Stephen Nachmanovitch
Trust the Process: An Artist's Guide to Letting Go-- by Shaun McNiff
The Artist's Way: A Spiritual Path to Creativity--by Julia Cameron
Rebecca has recently purchased a new car, and her Facebook post on the subject generated over 100 comments--suggestions, questions and testimonials. Who knew artists were so passionate about their cars? On today's episode, Rebecca and Ross give practical advice on choosing and buying both new and used cars. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss the positives and negatives of living in the digital social media age, and the importance of curating your online presence. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss the importance of alone time and the role it plays in the creative process. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss her experiences at various artist residencies, their importance to her work, and tips for people thinking about attending a residency. Website mentioned: http://www.resartis.org/en/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss the challenges of balancing parenting with an art career, both from the perspective of the artist and the child. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca Crowell interviews Minnesota artist Ginny Herzog, an independent, self supporting artist for over 35 years known for her unique architectural abstractions. She discusses her journey into the art world and how she conducts business as an artist, with a focus on high end art fairs. https://herzogart.com/home.html www.rebeccacrowell.com www.coldwaxbook.com www.squeegeepress.com www.facebook.com/messystudiopodcast
Rebecca and Ross follow up their conversation on collaboration with a discussion on competition. They describe the positive and negative aspects of competition and how artists should judge their own success against others. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross give advice and discuss their experiences in collaborating with others both in art and in business. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca shares some of the avoidance strategies she has observed in artists who don't want to talk about their work, and how to overcome these bad habits when talking about your work, or talking with another artist about their work. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca Crowell talks with her good friend Lisa Pressman about painting, teaching, and what you learn from years of making art. The interview takes place at the 12th International Encaustic Conference in Provincetown, Massachusetts. http://www.lisapressman.net/ www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast Special Guest: Lisa Pressman.
Rebecca and Ross talk about maintaining a healthy attitude and mindset. Stay positive! www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross talk about finding your personal path in the art world and life. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca interviews Nuala Clarke while in Ireland. They discuss the conceptual aspects of her work which is fed by imagination, memory, what she reads, and the natural world of northern County Mayo, Ireland. http://nualaclarke.com/ www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast Special Guest: Nuala Clarke.
Rebecca interviews Michael Geddis, an Irish artist who produces extremely intricate drawings based on microscopic observations. He discusses the specialized equipment he uses, his methods, and what inspires his work. http://www.michaelgeddisart.co.uk/ www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast Special Guest: Michael Geddis.
Rebecca and Ross discuss personal voice in painting, what it is and how to find it. www.rebecccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca talks with Mary Duffy, an Irish painter from Wicklow who works in abstraction and landscape. Mary was born with no arms, and says "I paint with my eyes and my heart." www.coldwaxbook.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast www.maryduffy.ie Special Guest: Mary Duffy.
Rebecca's return trip from Ireland did not go quite as planned. She discusses her travel troubles with Ross and shares what she learned as a result. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast
Rebecca and Ross discuss how to enter the art world and present yourself as a professional. www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/MessyStudioPodcast/
Rebecca chats with her co-author and business partner, Jerry McLaughlin, about cold wax, their work both as artists and entrepreneurs, and the future of Squeegee Press. www.rebeccacrowell.com www.coldwaxbook.com www.jerrymclaughlinart.com The Messy Bulletin Board James Edward Scherbarth... James Edward Scherbarth still has space available in one of this Process - Purpose - Passion workshops. Journey to Paris this Spring, enjoy the sights and culture, and expand your knowledge and skill using oil paint and cold wax medium. Jim will take you beyond the basics and help you to identify your purpose and find inspiration in your passions as you explore Paris, and the world of Abstraction. All levels of experience welcome. The session runs from April 22nd - 29th. For more details visit http://www.jamesedwardscherbarth.com. Special Guest: Jerry McLaughlin.
A lot has been written about good habits for artists. Rebecca shares which habits she thinks are actually effective. www.coldwaxbook.com www.rebeccacrowell.com The Messy Bulletin Board Kai Harper Leah... Kai Harper Leah, featured in The Messy Studio podcast #10, will be having an opening of her exhibit of paintings, titled Sueños at 6PM on April 12 at Sugar Nymphs Bistro in Peñasco, NM. See Kai's work at http://www.kaiharperart.com Marie Wood... Marie Wood will present an exhibition of mixed media, collage and painting called One Eye Sees, One Eye Feels, from the 29th of March through April 30 at the Clew Bay Hotel gallery, Westport, County Mayo, Ireland. Check out her work at http://www.mariewood.com
Rebecca and Ross discuss various approaches to abstraction, transitioning into abstraction from realism, and what can be gained by pushing the boundaries of abstraction. www.coldwaxbook.com www.rebeccacrowell.com The Messy Bulletin Board Paula Roland... Paula Roland is a Santa Fe, New Mexico artist known for her works in monotype and painting, for her teaching, and for developing the Roland HOTbox™, a heated palette and monotype/monoprint surface for encaustic. Roland has also developed the Carbon Lab Mash-up, a workshop she teaches which includes carbon-based media such as graphite, big brushes and Ink. For information on this and other unique encaustic workshops, and the Roland HOTbox™please visit www.RolandWorkshops.com. See Paula’s personal work at www.PaulaRoland.com Sean Pope... Handcrafted, high quality painting panels for local artists available in Santa fe, NM: Made of Baltic Birch Plywood, these panels feature a full 1/4 " thick painting surface, with 3/4" baltic birch plywood cradles in 1.5 and 2" depths that are extremely resistant to warping and bending. Aluminum painting surfaces are also available. These are superior painting panels that will be appreciated by artists and their collectors alike. Contact Sean Pope at sean@5cuplture.com or phone at 505-974-1735
Rebecca and Ross have their first of two discussions focusing on abstraction, based on a listener request. Rebecca talks her personal evolution into non-representaional work, a path that has spanned many years. http://www.rebeccacrowell.com https://www.coldwaxbook.com
Rebecca interviews Janice Mason Steeves while visiting New Mexico. They discuss Janice's life, travels, and her career as an artist. http://www.janicemasonsteeves.com/about.html http://www.rebeccacrowell.com https://www.coldwaxbook.com *The Messy Bulletin! * Artist Lisa Pressman is offering Virtual Studio Visits. This mentoring program provides a personal, in-depth response to artists in their studio. Artists can engage at their own pace with a custom tailored curriculum based on their particular experience and needs. All of Lisa's teaching concentrates on content, creativity, art making and of course technique, with an emphasis on helping students to discover their unique marks and concepts. Her specialty is focusing on each individual's needs, visual editing and technique. http://www.lisapressman.net/advisory-services Paint in rural Ireland in the rugged landscape of North Mayo. Work in ideal studios, access a library of over 600 works of contemporary art, and an exhibition gallery (which can be used for lectures, critiques, and projections). Classes are taught by internationally recognized Ballinglen Fellows, whose local intimate knowledge takes you on an exploration of this beautiful and mystical country. Tuition includes food and accommodations with a private bathroom. www.ballinglenworkshops.com Please donate to Joanna Kidney's Go-Fund-Me! One of our most popular episodes to date (#4) featured Irish artist Joanna Kidney. The passion and dedication she expressed for her work in that interview drew in many listeners. Tragically, her entire studio was destroyed by fire a few weeks ago. Please donate to her Go-Fund-Me page to help her rebuild. Give whatever you can, everything helps. https://www.gofundme.com/rebuilding-joanna039s-encaustic-setup Special Guest: Janice Mason Steeves.
Rebecca Crowell and co-host Ross Ticknor discuss completing a painting, how to tell when it is finished, how to select a title (Ross objects to untitled work) and how to prepare it for going out into the world. http://www.rebeccacrowell.com https://www.coldwaxbook.com
Rebecca Crowell interviews Kai Harper at her studio in New Mexico. They discuss Kai's art, career, and personal history. Kai spent 16 years at the San Francisco Zen Center, and the relationship between Buddhism and art is a central focus of their discussion. http://www.kaiharperart.com http://rebeccacrowell.com https://www.coldwaxbook.com The Messy Bulletin Board! Cullowee Mountain Arts is hosting a travel workshop with artist Lisa Pressman in Southern France. Join Lisa Pressman and Norma Hendrix September 11-18th, 2018 to explore the stunning landscape and textures. Lisa Pressman has envisioned this workshop to be a focus on ways to use traveling as a source of sensory information that will get translated into visual data. Cameras or I-phones, sketchbooks and assignments focusing on specific art fundamentals will shape our France experience. http://www.cullowheemountainarts.org/2018-Pressman-France#sthash.rE2vL0ro.CKMCdVO6.dpbs Special Guest: Kai Harper .
Rebecca and Ross continue their discussion on teaching. This episode focuses more on workshops, and the intense and highly focused personal interaction that takes place during a workshop. Ross and Rebecca clash over minimalism. During the discussion they shockingly confuse the work of one color field minimalist with another. The piece Ross was thinking of was "Red, Yellow, Blue II" by Ellsworth Kelly which can be seen at the Milwaukee Art Museum (http://collection.mam.org/details.php?id=8007), and not "Who's Afraid of Red, Yellow, and Blue IV" by Barnett Newman. It hangs at the Berlin Nationalgalerie and sadly, Ross has never seen it in person. The Messy Bulletin Board! James Scherbarth: James Edward Scherbarth will be at Peninsula School of Art in beautiful Door County, WI this June. Jim will be offering an introduction to Abstract Painting with Oil & Cold Wax Medium utilizing his Process-Purpose-Passion approach to meaningful abstract painting. The class is June 11 – 14, 2018. Complete details and registration are available through both Jim’s website: www.jamesedwardscherbarth.com and the school’s website : www.peninsulaschoolofart.org see their workshop page. Janice Mason Steeves: Learn the principles of cold wax medium in a workshop with renowned Canadian artist Janice Mason Steeves. Translating her mastery of technique, composition, and design into an accessible format, Mason Steeves helps students nurture and develop their own creative voice. She also accepts students for her online art mentoring program which offers honest, constructive, one-on-one feedback to help students and professional artists alike move their work forward. Learn more at http://janicemasonsteeves.com Ross Ticknor: Many of you have commented that you love Ross' voice. If you would like to hear more of his buttery smooth vocalizations, check out one of the audiobooks he has narrated. They are available on Amazaon, Audible, and iTunes. His favorite is "Headhunters From Outerspace" by Brett McCormick, a mind bending interdimensional sci-fi adventure set in Alvarado, Texas. Find it here: https://www.amazon.com/Headhunters-from-Outer-Space/dp/B06WWFTF86/ref=tmmaudswatch0?encoding=UTF8&qid=&sr=&dpID=51i4R-WHwEL&preST=SX342QL70_&dpSrc=detail
Rebecca shares her history as a teacher, both in a University setting and in workshops. She describes why an artist might consider a career as a teacher, and how to get started. http://rebeccacrowell.com https://www.coldwaxbook.com https://www.facebook.com/MessyStudioPodcast/
Debra Fritts and Frank Shelton discuss their shared love of art, New Mexico, and each other. Rebecca joins them at their home in Abiquiú, where they have adjoining (but separate) studio spaces. http://franksheltonart.com http://www.debrafrittsartist.com http://rebeccacrowell.com https://www.coldwaxbook.com Special Guests: Debra Fritts and Frank Shelton.
This is an episode that Rebecca and Ross recorded while Rebecca was in Wisconsin for the holidays. They discuss balancing a family and personal life with an art career, and new developments in Rebecca's work. Rebecca has two upcoming shows, as well as a return trip to Ireland in the Spring. She also discusses working thematically adapting to various working conditions.
Rebecca hosts a round table discussion with Úna Forde and Randall Exon at the Ballinglen Arts Foundation in County Mayo, Ireland. Topics covered include the Ballinglen experience and thoughts on teaching workshops. http://www.ballinglenworkshops.com http://ballinglenartsfoundation.org http://randallexon.com/home.html http://rebeccacrowell.com https://www.coldwaxbook.com Special Guests: Randall Exon and Úna Forde.
Rebecca sits down with Joanna Kidney at the Ballinglen Arts Foundation where both were attending a residency. They discuss the ideas behind Joanna's work, her techniques, and some of her large scale installations. This episode was recorded in October 2017. http://www.joannakidney.com http://www.ballinglenworkshops.com http://www.ballinglenartsfoundation.org http://www.rebeccacrowell.com https://www.coldwaxbook.com Special Guest: Joanna Kidney.
Ross interrupts Rebecca's preparations for her trip to Ireland to discuss creating art while traveling! Topics discussed include the TSA and how best to pack the art essentials. Rebecca also discusses networking in the art world, getting into a gallery, and selling work outside of the gallery system.
Rebecca Crowell visits Jeff Hirst in Chicago to learn about carborundum printing and other techniques. The focus of this discussion is on Jeff's work and how he designed and constructed his studio space. You can learn more about Jeff and his work at http://www.jeffreyhirst.com. Special Guest: Jeff Hirst.
Rebecca shares her personal history from her college years to the current events in her life. She describes some of her travels abroad and the influences on her style and technique. This episode was recorded in August, 2017.