Ceramic pendant 3" T (with loop) x 1.5"w, with jasper, zwarovski crystals and copper wire, and "raw ceramic" pieces for pendants, handmade by Tammy Vitale, $6 each raw pendant; $20 for completed pendant
Here is another piece of jewelry I wrapped the other day – you can’t see the loop, but it definitely needs to be redone. Tricia teaches to try things out first in play metal instead of wrapping a "try" with your good metal – I’m still learning that. But it has potential!
Yesterday’s post brought in some interesting comments. I posted it disagreeing with it entirely and was thinking everyone would post indignant replies about elitism or snobbery or such. Instead, I heard: out of/not in my league.
Surprised me! I guess that could be read a couple of ways, but mostly I read it as we think we aren’t able to compete because, as the article says, for instance, we didn’t go to the right art schools. I, for one, didn’t go to any art school (except for 2 semesters of drawing classes at Broward Community College in the mid-1970s and one clay class at Prince George’s Community College in 1997. Oh yeah, and a class with Peter King in 2005 – try to give credit where it’s due – but none of these were art schools and I sure wasn’t on an art track). I always figured I could get basics and then go on from there – sometimes school teaches you what you can’t do. If you don’t know what you can’t do, often you just go ahead and do it – that’s always been my take on art. I went to Tricia to learn the basics of wire wrapping. I will take what she taught me and go from there – but I needed to know the tools and some methods so I had an idea how it worked before I could do that. Reading magazines has never been my strong suit. Same with Peter’s class on architectural ceramics – I needed to know clay, vitrification (what matters, what doesn’t), attachment. Mostly I learned attachment by doing it myself after the workshop. Peter is really good about letting you call back and ask questions though.
Anyways. I also expected people to really sound off on buying investment art as opposed to art you love and want to live with. And collecting art – well, I collect from the artists I’m around and love. Usually it turns out I love the people who make the art I love simply because their art is a reflection of themselves, not made for the generic art market, frozen in time because one style got popular and then the gallery wanted that particular thing done again, and again. And again.
Just because we aren’t selling our art for $2,000 a crack (yet)(and my architectural art has gone for that and more but my regular art is mostly under $700)(for now), doesn’t mean our art isn’t as good or better than what’s being represented in New York as the next "great" thing (and here I will mention my oft-repeated refrain: Jackson Pollock? don’t get him, won’t pay $10 for one of his pieces – couldn’t live with all that jaggedness). I’ll bet every one of us has at least one person who buys us regularly (hey – that’s a "collector" folks, by definition).
I guess what I really want to say is: honor yourself; honor your art. Create your own measure; don’t depend on the Wall Street Journal (of all things) or any other publication or media outlet to define you or your art or your "league." If you haven’t found your spot where you are, then create it. If everyone is doing birds, barns and boats and you’re doing female torsos (ahem), then spend a year making a space somewhere for not only your own art but also all the other non-birds/barns/boats folks who have been sidelined. Within a year you just may find that you are providing what a lot of folks have been looking for all along but just couldn’t find. And you’ll probably also meet a lot of really great people with really great art (that you will have to refrain hard from buying).
Be brave. Be courageous. After all, isn’t being an artist already that?
thought for the day: Entering the marketplace with a plan means that your tools are line up…and your psyche is tuned up. How well you tune up your psyche depends on how thoroughly you have rejected the myth* of the artist, have developed personal goals, and have been willing to act on these goals and get yourself moving. A good plan also includes having a well-thought-out philosophy about money: how much you want to earn as an artist, and how much you are willing to spend in order to earn it.
* "There are two ways to look at the Planet Earth: (1) It is contracting and shrinking – therefore my chances are scarce. Colloquially put, ‘there ain’t enough to go ’round so I’ve got to get mine!" (2) It is expanding and growing with opportunity – my chances are based on abundance. The choice is mine, and time is my ally." [Nancy Anderson, Work with Passion]. Unfortunately, many artists have adopted [that] philosophy…The shrinking mode of thinking is also reinforced by other members of the art world. The foolish platitudes that there are too many artists or there are too many artists for the number of commercial galleries throw artists into panic attack or a chronic state of anxiety…Some artists sell their work at low prices because they have come to believe that the only buyer for their work is the buyer who makes himself or herself known at that given time. Some artists exhibit at galleries under unfavorable terms or circumstances because they believe it is their only chance to show their work and they must seize the moment…A fear of scarcity is largely responsible for why artists often feel isolated from each other. Caroll Michels, How To Survive & Prosper As An Artist: Selling Yourself Without Selling Your Soul.
For fun, past posts that might be interesting: Marketing Plans, The Business of Art, Small Business Development Corp, Follow Your HeART!
10 Comments
I write/struggle with/about honoring my inner artist as well. It's important to me to not let certain things influence me. It used to be the concern my parents would see some of my work – but when I hit about 31 I shucked that concern off – figured I was old enough to do what I want.
I think that there is something to be said for artists who go through the rigors of art school – it's a worthy accomplishment that I admire. Some day will take some classes, maybe get my degree, but I don't want to be "tainted" by art school just yet – I want to figure out who I am first THEN learn about technique. I don't think school is a good place for me to develop myself, I think it's a good way to further evolve myself.
I have always read about art, artists, taken all of the art related classes that public school had to offer – enough to keep me motivated, but also discouraged me in some ways. Nobody ever told me that art was an actual career option and I didn't figure it out until I was in my late twenties that it was something I could do for a living, if I really had it in my spirit to do so.
Sometimes I feel like people are talking over my head when I'm in a room with educated artists. I used to feel quite conspicuous about it – but no more. I simply say, "Well, I haven't yet had the opportunity to go to art school, so I don't know what you're talking about." Most people are happy to explain – some are so snooty I don't say anything and just sip my wine and hope they get laid to work off the "I'm fabulous" energy 🙂
There is a good bit of elitism – but I've learned to ignore it. When I see an artist being treated like a rock star I sort of roll my eyes. Like their art shot straigt out of an angel's butt or something – it's actually kind of funny and fodder for some political art in itself.
When you want to make a living at art, sometimes you do make compromises – producing lots of pieces in a hurry and at first I thought maybe this was bad, but then I realized, it's good humble work and it gives a little piece of yourself to somebody who wants it – and that's a good thing!
I think that there is room for all who have it in their souls to create and there is always somebody who will connect with your art. You may never sell a piece for $10k in your lifetime, but what if you change the way somebody thinks? What if you inspire somebody to become an artist? That's worth something!
I try to focus on the non monetary rewards, because there are so many!
I love reading your posts, they help me stay motivated to, so thanks for all of your hard work!
i've been saving this post for later and later just doesn't seem to be coming. ack! overwhelm! anyways, i saved it to re-read it and form a proper comment. but waiting for a coherent comment may take far too long, so i'll just say that i enjoyed your post and it's just what i needed to hear. xoxo
i've been saving this post for later and later just doesn't seem to be coming. ack! overwhelm! anyways, i saved it to re-read it and form a proper comment. but waiting for a coherent comment may take far too long, so i'll just say that i enjoyed your post and it's just what i needed to hear. xoxo
i've been saving this post for later and later just doesn't seem to be coming. ack! overwhelm! anyways, i saved it to re-read it and form a proper comment. but waiting for a coherent comment may take far too long, so i'll just say that i enjoyed your post and it's just what i needed to hear. xoxo
Great post. I actually didn't come to like Pollock all that much, until I started at the school for DD artists – and one of them worked in his method. Watching her (she's non-verbal, and has limited mobility, but is very bright), anyway, watching her, deliberately choosing which color and deciding where she wanted it, seeing the focused freedom she used, and the joy she took in the painting, made me look at his work a little more appreciatively. I generally shy away from criticizing other artists, but if there's any 'art/artist' that really bugs me, it's the 'beyond conceptual' ones — the 'art' that museums pay/foundations give grants for – enormous amounts of money, to someone so they can turn on a water faucet and leave it running for 30 days (supposedly to raise awareness about water usage!?!) and then call it 'art!' ?? Grrr…
OK, that's my rant for the day.
Anyway, the wrapped wire is very cool! Hope your finger's healing up well.
Right on Tammy!!! I belong to a group of artists who focus on assemblage art and artist books — whoo boy try explaining that to people who don't know what you're talking about!!! None of it fits into the preconception of 'art' to the lay person. When you go to a book art class quite often they are teaching the traditional book form (with paper and a formal cover). I've had to learn all of my techniques from some very talented 'outside' artists, and gleaned many of my techniques from other areas (such as quilting, collage, beading, etc.) P.S. – I'd add Picasso to the list right behind Jackson Pollack
I love those pieces, they are like looped snakes, very beautiful; Thanks for reminding us not to panic but to honor our art!
Hi Tammy, I'm enjoying your posts. I found you via Eileen and Lizzi. I love your pendant – very unique. Artists should definitely only create what turns them on. A quote by and Australian artist I found recently "art is not about how well it's painted, but how much attitude it's got" It is this 'attitude' that attracts people to your art. I only buy art I love and I don't need a poncy gallery or WSJ to tell me what is good, I just know it in my heart and soul.
P.S. Your post made me remember that I have been doing some work with copper again recently (last week) and I had left it languishing on the mantlepiece, forgotten about! So I shall post it on my blog! Thanks!
Tammy, you really are a gem and that's why we love you!
I am working on honouring my artist, and on developing faith.
I definately believe that you should only by art you absolutely LOVE – anything else is obscene!
Great post – Hope your finger is feeling better. Hugs.