So...the bottom line here is...be your own person! Wow, what an original idea.

Erica Jong - I never heard that interesting comment from her. Two others, however, remain etched in my mind. She lamented over the fact that the difference between facial plainness and beauty was merely fractions of inches. So true, so sad. The other memorable opinion in her circa 1960 best seller "Fear of Flying" was her solution to hunger and birth control plaguing Africa. The female would devour the nutrition arising from being locked in the embrace of sexual congress, at the same time circumventing the natural procreative mechanism.

The idea of criticism is surely a slippery slope both for the artist who seeks it and critic or adviser giving it. One point I have to agree with Robert on is seeing a body of work rather than a single work is worth more to the artist as well as the critic. No one piece defines an artist especially throughout his or her lifetime. Artists evolve, hopefully, over years as they grow and find new subjects to comment on. Finding a critic that would be beneficial to you is harder than finding a doctor. Critics can rarely be subjective when looking at a multitude of artwork from various artists. Also true is seeing only one work from one artist.
So the ongoing dilemma is whom does an artist turn to for advice? The one and only answer, meager as it sounds, is the artist themselves. You have to be your own critic.
This is scary stuff especially when you are learning and unsure if any progress is taking place with your artwork. But only YOU know what it is you want to say, what you want to accomplish. No!
Then maybe the first question an artist should ask him or herself, is why do I want to do this?
If the answer comes back “because I like it or is fulfills me or I enjoy it, fine. Then don’t look to critics at all.
If the answer comes back that you have a burning desire to change the world or make a statement on your time or life or you can’t stop thinking art or the burning in your gut won’t subside until you sit at your easel, then you should think about seeking counsel.
Look to other artists’ work, find comradery in other artists, and look into yourself. You will certainly reach a point when you know you are on the right track no matter what anyone else may think or say. This will take time. As you ability grows so your confidence, so your self counsel.

When the student is ready, the master will appear. This "master" can come in many forms, sometimes from a surprising and unexpected quarter. The point is that the student (and who isn't a student) already knows what he or she needs, and all that is really needed is confirmation.

Yes, the world will survive and art will always be alive.

Pleeeeze. Paint as you like and die happy. Marketing is marketing, art is art. They only have to work together to gather moooolah. Not a bit of truth to the idea that a panel will serve any artist... unless the artist is painting ON the panel. Or panting on the pain-el... or... so unsure of themselves and their efforts that a group of fussbudgets commenting over the work is an acceptable alternative to true personal insight....;P

I think that the idea of whether art should be juried is the wrong question. The wellspring of art is the vision of the individual artist, but we are all human beings (aside from a few painting elephants) and we crave validation from our peers.

We create art for ourselves, but no one can live in a vacuum. To know that your art is appreciated, whether it is by a jury of artists or the general public, is one of the great rewards. Conversely, if no one else likes your art, it takes a very strong, self-contained ego to not feel bad about it.

Despite all the negative comments re panels, and giving advice, obviously there are artists who seek input from more experienced artists, to help them if they are faltering and need some direction. Sometimes "permission" is all that is needed to one who is uncertain as to whether they are doing what they need to be doing. Especially those who are fairly new at it. I know for years I didn't trust my own opinion. (insecurity? Yes.) But maturing brings confidence. In the meantime, we journey along with different teachers, experiences, moments of insight and breakthroughs. And a well placed comment may contribute to all that. If the artist can take from it what he/she needs and not get too rigid about following what others' think, then another artist's advice can be timely.

Did You Know?

ART
Sings and dances
With a rhythm
Of its own-
Our eyes follow as
Lines lead us on a
A merry chase,
And colors evoke
That quick
Intake of breath!

Mass and space,
Light and shade,
Shape and form,
And composition
Combine…

And yet
What speaks to one
Remains silent
To another-
A mystery, indeed!

Art
Has the Power
To move us deeply
To reach a level
Deep inside
Where words
Are left behind!

Norma Marshall
Once Upon A Time

Does anyone out there remember the book of rejection notices to famous people. It told them to give they would never be any good. Thank God they didn't listen.

After a cursory reading of Mr. Greenberg's list, it appears to be thorough. My only addition would be to own a small dog.

Eveyone is a critic (including my family)....I don't listen unless they know something about art, I don't pay attention unless they know more than me about art, and I appreciate their work.

I sat in a crowded church once, and asked my husband,
-How many artists do you think are in this crowd? He said not many, I said 5, he said less, maybe 2, (this is out of several hundred people)

I have not done a show in awhile, but self appointed critics seem to flock to shows.
After asking one of these critics if they know anything about art, they said, no but I know what I like.
My response would be yea, but so does everybody else and I don't care.

When I was teaching I would do helpful constructive critiques, only after asking the artist if they would like me to.

To avoid criticism when you don't want any, tell them ahead of time what you want, critique or praise or whatever!

Only when our boundries close in on us can we realize then, we are most free.

Thank you for the letter, I enjoy it. My problem: The text on Irwin Greenberg's 100 list is too small to read. I'd like to read it. Can you help?????

Listening is almost always worthwhile, because, if advice doesn't edify as it was nominally intended to do, it will often illuminate some other situation, something perhaps unintended. In any case, one must keep in mind that not all opinions are created equal. Advice runs the gamut from well informed and on point, to uninformed and pointless. In an odd sense, even the latter can often have value if considered the negative space of the topic in question, or the subject(s) involved in the discussion. As with composition, understanding negative space goes a long way toward understanding the rest of it.

We can analyze technique, comment on composition, discuss color theory, debate form and function, but we cannot critique art. Art is about ideas, it is not about the medium or the method.

that's what you think

I am a sketchbook with a person attached. If someone chooses to call me an artist, that's their business. I just go around getting stuff, much like those guys that go onto city streets and pick up cigarette butts. Part of my job, as I see it, is not to get stuff out of urinals, like some bums do. These sorts of bums should not be called artists--they should be called "wet butt gatherers."

Like James MacLean, I too am a sketchbook attached to a person. I see other sketchbook persons making notes of things that have already been noted by yet other sketchbook persons. What's all this noting got to do with anything? I'm bored with all this repetitious sketching. Piccadilly Circus has already been done. I sketch my ideas and they don't look like anything that has already been seen and trivialized by previous sketching.

I went looking for "Autumn in the hills oil painting Barbara Elmslie, Quebec, Canada" to get more info on this "Premium artist." Turns out most all links to get a print/profile/whatever outside of this blog are all bad. It seems this is very common for artists. Makes it harder for them to make money too, when you can't get to them. Artists, at least today, need to maintain a current web presence. My opinion. At least I was able to get a digital print from the blog for a background on my PC. I'll enjoy what I can of it.

I really enjoyed the "100 tips" today. These of course, can be applied to most any part of life.

Phil,

Why would you be looking for PC background art on the web sites of artists who are not in that kind of business? Artists who create and sell original art own the copyright for their images and don't sell or provide free prints. If you are lifting images from internet, you are engaging in a criminal activity. There are lot of businesses who sell art for PC backgrounds. The only way to acquire original art is to buy it from the artist in the way that artist runs his art business.

I just got back from the Kentucky Crafted show in Louisville. I left not knowing what to expect with this economy (scared to death because I was at a make or break point!). I'd never done that show before. It was 2 days wholesale followed by 2 days retail. It was a fabulous show! It was only my 2nd wholesale show. I'll do that one again! I've come back excited and ready to forge ahead to new discoveries!
I also have been on the board of a prominent art organization and am now on the advisory board. We have a convention every year and part of that is a critique - of work, display and promotional material. Sometimes I think that these advisory boards try to fit every one into the same box. which means I see the same types of displays and presentation over and over. So I make an effort to present something fresh and different. I've taken what I want from the critiques and ignored the rest.
In the shows I do I notice several things that bother me. First, the artists have no fire for their mediums. I don't know if that is because they've stopped trying new things, or perhaps they are afraid to "step out", but I find that the fire and excitement one has for the mediums that they are working with makes so much difference in getting that important connection built with the customer and the work. It seems if YOU aren't excited and verbal about your processes and results, you aren't going to get a customer to be excited either.
Secondly, I wish the artists would throw away those "director" chairs and instead stand and TALK to the people who come by their booths! I can always find something about the customer - their own jewelry - their style in clothing - their hair cut - ANYTHING - that I can compliment them on to start a conversation. That also helps them relax and makes them feel good about being there! I'm not exactly an outgoing person, but I become one when I am doing a show - partly because I absolutely love what I'm doing and want to share that with everyone who sees my work, but also because that is how you sell jewelry or any other work of art.
I've been critisized for using too many mediums in my work. But I am a "multi-medium" jewelry artist and tie all the work together with how I set them with wire sculpture. I have not found the customer to be critical however. They are enthused to see so many applications of the art and may have trouble choosing between my mediums, but come back to buy after seeing all the other artwork offered at the show. That is, to me, such a compliment to my work!
I think that if an artist doesn't experiment with the possibilities and extend them selves to new mediums and techniques and isn't just thrilled and "pumped" about what they are creating, no matter how great the work is, it is not going to get the notice it deserves.
Artists forget that they are their own best advocates. They are the prime promoters and salesmen. They think that if they simply make it - it will sell. But the business side escapes them. I noticed that when I was a gallery director. They cannot simply let it sit to be noticed. It's the artist who projects the joy they feel in creating the work that will sell the work.

www.MainStreet-Missouri.com

Denise - I think you've hit the nail on head. What follows isn't a recipe but the way I act at shows where I have to be there all day or several days.
First let me say when I started painting I wanted to do just that and never have to meet the public. I found my reason for this type of thinking was based on inexperience and lack of assuredness on my part. As years past and I learned this process so to my attitude changed.
Now, I always demonstrate whenever I show. This gets me excited as well as draws people to my area where I can comment on the work as well as inquire about the lives of those standing around i.e. do they paint? This has sometime led to crowds gathering and blocking the sidewalk or path. Also the other vendors near me benefit and I now notice they too are demonstrating to pull crowds from me.
I even have small children pick up a brush and paint on my canvas.
I have sold works that had another’s hand in it. They come back and ask if they can now buy it since they helped paint it. I also get a chance to point them to my site to see others works not exhibited.
I rarely sit down anymore at shows. Maybe to have lunch.
If a person stops, they like what they see. I tell them about the work, how it was created, if it’s one of a series, why I painted it that way, the technique used. The longer they stay the more likely they are compelled to buy.
Those who sit and watch the crowd pass might as well go home.