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theworkingartist.com
The Working Artist Silver
Chapter 2: Video WorkBook: Your Market
0. We'll cover a lot of ground in this chapter. Make notes!
1. Adjectives you use when describing your work.
2. Where would you like to see your work one day?
It could be a museum, a book, a gallery, the lobby of a corporation, your
Grandmother’s dining room wall, a private collection, or any place else that
speaks to you.
First, visualize where your work will be. Make notes.
1. Where do you want to see your work?
2. What location do you want to see your work?
3. What place makes sense for who you are, what your work is about and what
you hope to be doing?
3. Now visualize your clients.
Consider the following:
1. Where are they located?
2. What interests them?
3. What do they read?
4. Do they go to museums?
5. What kinds of organizations are they members of?
6. Where can you find them?
7. Where do you want them to see your work?
Thank you for pre-registering for The Working Artist.
The Working Artist Manifesto
1: As an artist, I've learned...
Add your thoughts below...only you will see this.
2. I believe in doing...
3. Time is...
4. I commit to...
5. I believe art is important because...
6. I want my art career to...
7. Instead of just hoping, I'm committed to doing by...
8. Money is...
Intro
A guidebook to my path as an Artist...
The Working Artist Masterclass
Introduction: Video Workbook
1. Do You Believe in Your Work?
(All the notes that you write in each Video Workbook during the course will be
saved in the Workbook section of the Notes Archive. You can access this via
your Dashboard page. You will also be building up a downloadable PDF that
complies all the questions, info and your notes from each section in each
workbook - your own personalized handbook!)
2. Are you doing everything you can to support your work and your career?
3. The Working Artist Course Outline
The Working Artist is a transformational program helping you to clarify,
focus and hone their art business strategy.
By successfully completing The Working Artist will, you will have:
?received the tools needed to map a course for your career;
understood clearly how the art business works;
learned the rules that you can break, and that you can't;
created clarity about your creative and professional goals;
identified obstacles and turned them into achievable tasks;
learned how to get your work seen and sold.
Specifically you will gain greater insight into each of the following areas:
Chapter One
Goal planning | Career goals | Writing your resume/cv | Writing Artist Statements
| Writing your biography | Setting prices | How to price editions
Chapter Two
Marketing for Artists | Websites | Public Art Commissions | Grants | Donating art
to charities | Galleries / Finding representation | Art fairs | Artist registries | Open
Studio events } Creating a Contact List | Artist’s business cards | Other ways to
get your work seen | Finding your audience | Art world relationships | How to
present your work
Chapter Three
Reproductions | The Working Artist Kit | Responding to requests | How to talk
about your work | Art Dealers | Contract negotiation points | Copyright | Licensing
| Consignments | Dealing with rejection
Chapter Four
The habits of successful artists | Creating a Working Artist Business Plan
Assessment
You will be guided step by step through each interactive stage of the program and
required to reflect upon and formulate your mission and plan within each chapter.
You will be given the opportunity to interact with fellow students, set attainable
action goals and will be assessed through formative quizzes and a summative
final test.
Chapter 1: Video Workbook: Your Goals
1. Write your own obituary.
2. List 3 artists whose work you admire.
3. List 3 artists whose careers you wish to emulate.
4. Dan Rizzie CV
5. Claudia Bernardi
6. Claudia’s Artist Statement
In a fresco, the pigments are not painted on the wall they are embedded in plaster
in such a way that the pigments become the wall. In my work, I depart from the
same principle: the pigments become the paper. I use pure pigments that are
embedded in the paper by the pressure of a printing press. No binder, oil or
medium is used in this process allowing the pigments to maintain their purest
intensity. Each fresco on paper is the result of multiple runs through a printing
press where layers of pure powdered pigments are pressed into wet paper. The
coloration, often times, is a process of subtraction, a scraping away from the
layers, a patient uncovering of colors reacting among themselves alchemically.
For the last fifteen years I have collaborated with the Argentine Forensic
Anthropology Team (AFTA) in investigations of violations of Human Rights. The
task of this group is to perform exhumations of mass graves in order to determine
crimes performed against civilian population. I participated in exhumations in El
Salvador, Guatemala, Argentina and Ethiopia. My artwork is profoundly
influenced by these experiences. Not only in the narrative aspect of the piece but,
most importantly, in the conceptual realm of finding images through the searching
of layers of colored dust. I scratch the surface of the piece identifying human
figures that interact with the world of the hidden images. The pigments convey the
essential "materia prima". The intensity and the fugitive condition of pigments, so
fragile yet persistent, are metaphors of the elusiveness of life and the neverending determination of hope.
The installations are frequently created upon testimonies recovered during the
exhumations. I conceptualize each installation as a documentary, departing from
the reports presented by AFTA to the Supreme Court of the country where the
investigation takes place. The reports narrate, chronologically, the findings of
human remains and associated objects constructing a historical account of the
massacre. The creation of artefacts and associated objects resembling the actual
findings convey my visual response to the violence that I had witnessed. My
intention goes beyond political criticism. It is a way of retaining the communal
memories of the survivors.
8. Write your own bio.
A bio is a one or two paragraph summary of your accomplishments written as a
narrative in the 3rd person. It hits the highlights of your cv.
You may include where you were born, where and what you studied, who you
studied with if pertinent. Include any interests that might pertain to your work such as the environment or kittens. Any scintillating facts about you and your
work or methods should be included. Feel free to reference your background,
influences, or working technique.
9. Kate Breakey Price Sheet
7. Sample Bios
Kate Breakey Bio
Kate Breakey has gained international recognition for her large-scale richly handcolored photographs. Since 1980, her work has appeared in more than 56 oneperson exhibitions and in over 50 group exhibitions in the United States,
Australia, New Zealand and France. A native of South Australia, Kate moved to
Austin, Texas in 1988. She completed a Master of Fine Art Degree at the
University of Texas in 1991 where she also taught Photography in the
Department of Art and Art History until 1998. In 1999 she relocated to Tucson,
Arizona. Breakey’s work is held in many public collections, including the
Australian National Gallery in Canberra, the Center for Creative Photography in
Tucson, Museum of Photographic Arts in San Diego, and in Texas, Austin
Museum of Art, the Museum of Fine Arts in Houston, and Witliff Gallery of
Southwestern & Mexican Photography who have collected over 150 works by
Breakey since 1999. In 2004 she received the “Photographer of the Year” Award
from the Houston Center for Photography.
In 2001, the first monograph on Breakey’s work was published by the University
of Texas Press. It contains 81 color images from her ongoing “Small Deaths”
series, with a forward by noted art critic A.D. Coleman. Her second book,
Flowers/Birds, (Eastland Books) was published in March 2003.
Crista Cloutier Bio (old)
Crista Cloutier is the director of Segura Publishing Company, a fine art publishing
studio located in Tempe, AZ. There, she collaborates with significant
contemporary artists using print processes that further the creative possibilities for
photographers and conceptual artists. Cloutier is also a producer with Encanto
Films, creator of the awardwinning documentary Pasa un Angel: the Art of
Claudia Bernardi. Ms. Cloutier received her undergraduate degrees in
Photographic Studies and Art History, with her Master's Degree in Religious
Studies from Arizona State University. She is recognized for her work in the
intersection of art, politics and religion. Currently, she is writing the biography of
19th century spirit- photographer William Mumler.
Jill Bell Bio (fictional example)
Born in Detroit Lakes, Minnesota in 1963, Jill Bell is an emerging painter and quiltmaker whose work captures the fluidity of the mysterious realms of the human
condition. Bell’s fascination with art began as a small child, and she drew for
many years before setting her brushes aside to focus on raising her family.
Though she wasn’t actively making work during those years, she photographed
continuously, developing her eye for detail and nuance. Largely selftaught, Bell
has taken several painting workshops where she has studied with celebrated
artists including Emily Dahl and Richard Flood.
Bell’s work is included in several local collections and has shown on the walls of
Starbucks, introducing her work to a wider audience. She won “Honorable
Mention” for her painting “Skylark In Her Hands” from the Detroit Lakes Town Art
Contest. She is a member of the Detroit Lakes Painting Society.
Currently, Ms. Bell is working on a private commission and preparing a body of
work for future exhibition.
Which speaks to you the most? What elements can you borrow that will suit your
own story. What do you think each artist left out to make their bios so succinct?
Chapter 2: Video WorkBook: Your Market
0. We'll cover a lot of ground in this chapter. Make notes!
1. Adjectives you use when describing your work.
2. Where would you like to see your work one day?
It could be a
museum, a book, a gallery, the lobby of a corporation, your Grandmother’s dining
room wall, a private collection, or any place else that speaks to you.
First, visualize where your work will be. Make notes.
1. Where do you want to see your work?
2. What location do you want to see your work?
3. What place makes sense for who you are, what your work is about and what
you hope to be doing?
3. Now visualize your clients.
Consider the following:
1. Where are they located?
2. What interests them?
3. What do they read?
4. Do they go to museums?
5. What kinds of organizations are they members of?
6. Where can you find them?
7. Where do you want them to see your work?
Chapter 3: Video Workbook: Your Profession
0. Take notes here if you like!
1. What is your work like? (Your Elevator Pitch)
This is a question you will inevitably be faced with. Come up with one or two
(short!) sentences that you can memorize. It’s important that your words create a
picture that the other person will want to see. So be brief yet descriptive, get to
the very heart of your work and leave all of the extra bits for later.
(You will use this link later to get back to the 'Share Your Elevator Pitch' task )
2. Working with a potential gallery partner.
Write down the questions you would like to discuss when speaking with a
potential gallery partner.
3. The Working Artist Kit Checklist & Work Label Checklist
Click on the image below to download a copy:
4. Work Label: Example
5. Consignment (or Loan) Document
Click image to download your copy:
Chapter 4: Video Workbook: Your Plan
0. Take notes here if you like!
Know what is happening in your world. If you paint kittens, then find out
everything there is about kittens, past and present.
Sometimes we need to go away to be with our creativity, just as we need to go off
with our spouse.
Look and read about art, historical and contemporary. Look at art everyday.
Someone once said that beauty is a way of God saying "hello" so, with this,
respond back.
Be educated, an always, always challenge yourself.
Show up and do your best. Keep working. John Cage said, "Not knowing where
to begin is a commmon form of paralysis..." his reccomendation: "begin
anywhere!"
Research ways to make social media work for me.
A. Name of your business or studio.
My current business name: Rhonda Horton Artist
However, since getting a business license in my name above, I have come up
with a name for my studio: Horton House Press Alaska Fine Art.
Rhonda Horton Artist at Horton House Press Alaska Fine Art
So, now I wonder what should my business license state as my business name if
I was to change it? Should it state the name of my studio? Also, I have thought
about adding my middle name Jo Ann to my full name since there are a ton of
Rhonda Horton's in this country. So, would Rhonda Jo Ann Horton at Horton
House Press Alaska Fine Art sound good?
Or, how about Rhonda Jo Horton for my artist name? Anyways just some
thoughts.
B. Who are the key contacts for your business?
Is it just you or do you work with someone else as well? This is where you put the
biography we wrote in Chapter One.
(Shortcut: Click here to open Chapter One in a new page/tab. Go to section 8 and
cut and paste it back here.)
Then see what you can improve on!
Rhonda Horton was born in Euclid Ohio in 1961. As a young child she began to
capture the world around her through drawing and photography and received
recognition as a young artist. She moved from Ohio to Alaska in 1971 where
she practiced her art in school through industrial arts, drawing,
photography, painting, and music. She became actively involved in art at the
public schools and community organizations as she raised her family and took on
an owner builder project with her home. She was the local chairperson and
regional support for the National Parent Teacher Association Cultural Arts
Program Reflections for six years. She taught charcoal drawing along
with numerous art projects in a multi-age classroom, which she directed two large
ceramic tile murals with students for Snowshoe Elementary School, Wasilla,
Alaska. She was set designer for local community children's theater and church
plays. Rhonda received her Bachelor of Fine Arts in Art in 2011, under Garry
Kaulitz, Professor Emeritus of Art, at the University of Alaska, Anchorage with
studio emphasis in printmaking and drawing. She has taught printmaking and
papermaking in small workshops with UAA and UA Mat-Su and has taught
drawing, papermaking, and design in rural Alaska through the Artist In Schools
residency program. Rhonda has additional Post Baccalaureate studies in K-12
Art with the University of Alaska Fairbanks. Rhonda's work has has received
national and local recognition and awards, and has been shown in South Central
Alaska, Washington DC, and nationally printmaking conferences.
Aproximately 150 words or less
Born in Ohio, 1961, Rhonda was recognized as a young artist. Rhonda served
six years as local chairperson for the National Parent Teacher Association
Cultural Arts Program Reflections; she directed two large ceramic tile murals for
school installation with multi-age classroom students, and she was set designer
for numerous musicals and plays for community theater and church. Rhonda
received her Bachelor of Fine Arts in Art, 2011, emphasis in printmaking and
drawing under Garry Kaulitz, Professor Emeritus of Art, University of Alaska,
Anchorage. Rhonda is a teaching artist with the Alaska State Council on the Arts,
Artist In Schools residency program. Her work has been shown in South Central
Alaska and nationally, receiving local and national recognition and awards.
C. How do you make your work?
Answer as a complete statement. One sentence.
I make my work using current technology along with traditional printmaking
processes.
D. Why do you make your work?
Again, answer as a complete statement.
I make the work that I do because of my passion and celebration for life.
E. What is the aim of your business?
This answer can be as short or long as you want. Get real with yourself here,
what do you want for your work? Think about how you answered the question
“Where do you want to see your work one day?” Here is a shortcut that will open
in a new page - it's in Section 2.
To make art that matters--where it is not left behind for no one, but is brought out
for others in exhibition, in education, in expansion--where art becomes a good
place to meet.
F. Who are the key personnel?
List yourself and any partners you might have included bios for above. Make sure
you have a CV for each person to your completed business plan.
I am key personnel, below please find my CV:
RHONDA JO ANN HORTON
PO Box 875363, Wasilla, AK 99687
(907) 376-1265
[email protected]
website: rhondahortonart.com
B. F. A., Art, Printmaking and Drawing, University of Alaska Anchorage, 2011
(Magna Cum Laude)
SELECTED INDIVIDUAL EXHIBITIONS
2015
Fields and Feathers, Jitters Coffee House, Eagle River
2014
On the Modern Slate, Kaladi Brothers Coffee House
2013
In Transition: Observations on Nature’s Abstraction, International
Gallery of Contemporary Art
2011
The Cook Inlet Beluga Jam, Kimura Gallery, UAA
2011
2008
2007
Waters of Time, Jitters Coffee House, Eagle River
eclect-era et-cetera, Jitters Coffee House, Eagle River
What has Man Wrought, The Arc Gallery, Consortium Library, UAA
SELECTED JURIED EXHIBITIONS
2011 - 01 Annual Juried Student Art Show, Student Union Gallery, UAA, MatSu College
2011, 10
No Big Heads, Student Union Gallery, UAA
2007, 03
Eggs-ibition, Mat-Su Community College, Mat-Su, Palmer
SELECTED GROUP EXHIBITIONS
2015 -12
International Gallery of Contemporary Art, Annual Members
Exhibition, Anchorage
2014 - 08 Southern Graphics Council, Member Print Exhibit, Richmond, VA '08;
Philadelphia, PA '10; New Orleans, LA '12; San Francisco, '14
2011
The Artists Have Left the Building, MTS Gallery, Anchorage
2009
Spaces that Surround, Print Club, Student Union Gallery, UAA
2009
It’s a Small World After All Print Club, Student Union Gallery, UAA
2009 - 02 Steamroller Prints, MTS Gallery, Anchorage, 09; International
Gallery of Contemporary Art, 05, Anchorage; Student Union Gallery, 02, UAA
2007
Walk the Talk: Art & Action for Change, MTS Gallery, Anchorage
2006
Ex Libris International Print Exhibit, International Gallery of
Contemporary Art, Anchorage, with traveling show to Bunnel Street Art Gallery,
Homer
REVIEWS
2009
Hamilton, Heather. “Print Club hosts new art show: the Spaces that
Surround exhibit features works by Print Club members,” The Northern Light,
University of Alaska, Anchorage, September 22, 2009, p. AE 10, “In My Space,
No. 2, 4, & 6.”
2006
Wellner, Andrew. “Taking the Elbow Grease Out of Art,” Anchorage
Daily News, August 30, 2006, p. Mat-Su, Anchorage Coastal Trail (Steamroll
print)
PUBLICATIONS & AWARDS
2015
Artist Award Capitol Christmas Tree, 2015, Alaska Geographic,
Anchorage
2011
Jurors Choice Award, Annual Juried Student Art Show Student Union
Gallery, UAA
2010
Academic Recognition of Excellence, Publication 2010 Student
Showcase Presenters, Student Showcase Journal, Vol. 26, “Through the Art of
Persian Miniatures” p. 141 UAA
2007
Best of Show Award, "Upside of Winter," Girdwood Center for Visual
Arts, Girdwood
2006
Artist Award Month of August Community & Technical College 2007
Calendar “The Veiled Earth” UAA
2001
Photography Award Mat-Su College, Palmer
1996
Photography Snapshot Award 61st Annual Kodak Snapshot Contest,
Anchorage Daily News
PROFESSIONAL ACTIVITIES
2010 - 03
Officer Positions The Print Club, Vice President/Club Council
Representative 09-10; Secretary 08-09; Treasurer 03, UAA Campus Club
2009
Curator “It’s a Small World After All,” The Print Club, Student
Union Gallery, UAA
2006 - 98
Chairperson, Curator, Co-Curator National PTA Cultural Arts
Program "Reflections," Mat-Su Borough School District, Wasilla
ART RELATED WORK EXPERIENCE
2016 - 11
Rhonda Horton Artist, Horton House Press Alaska Fine Art, Sole
Proprietor Business
2015
Teaching Artist, Community Events and Workshop Capitol
Christmas Tree Project 2015, Dorothy Page Museum, Wasilla
2014
Student Art Teacher Academy Charter School K-8, Palmer
2014
Teaching Artist Residency, Anthony A. Andrews K-12 School, St.
Michael AK
2013
AK
Teaching Artist Residency, Walter Northway K-12 School, Northway,
2011
Papermaking Instructor, University of Alaska, Anchorage
2010
Printmaking Lab Aide, B.F.A Practicum, UAA, Art Department
2008
Palmer
Printmaking Demonstrator Mat-Su Community College, Mat-Su,
2003
Choir Member, National High Schools Requiem, Carnegie Hall, NY
2001 - 97
Arts & Crafts Instructor and Facilitator, charcoal drawing, candlemaking, crafts, multi-age classroom 4-6, Snowshoe Elementary School, Wasilla
1999
Lead Artist "Earth’s Biosphere in Alaska," collaboration grades 4-6,
two hand painted ceramic tile installations, 3 ft. x 9 ft., Snowshoe Elementary
School
2000-89
Set Designer, Valley Performing Arts Children’s Summer Theater
Camp, Wasilla; ‘99-2000; Lamplight Desert Theatre, Palmer. ‘99, K-12 Summer
School 2000; Church Cantatas, ’89 -’94
ART RELATED EDUCATION
2015 - 13
K-12 Art, University of Alaska, Fairbanks
2011
Teaching Artist Academy Alaska State Council on the Arts,
Anchorage
2010
Graver Workshop by Joan Tenenbaum, University of Alaska,
Anchorage
G. List your team, the people who help you do what you do.
These are not members of your studio but outside services you may consistently
use.
Listed below are my studio services:
My husband, my champion, who fully supports me, lending his hand for many
tasks.
Dick Blick Art Materials
Daniel Smith Art Materials
Blaines Art Supply
International Gallery of Contemporary Art membership, Anchorage, Alaska
CaFE - art calls
GoDaddy wweb hosting and business email
Facebook Business Page
Southern Graphics Council International membership
The Working Artist
H. What makes you different?
Is it a technique? Imagery? The attention you pay to your collectors?
What makes me different is that I am an artist printmaker, unlike many artists who
are commonly painters. Being a printmaker makes me different since most
people don't know or understand anything about printmaking as a fine art form.
What also makes me different, on a global level, is that I am from Alaska. For the
most part, people do not know much about Alaska and have
many misconceptions about this place.
I. Strategy?
You do not need a hundred ideas but just one or two, and then strategize how
you intend to put them in action.
How to get my work seen and noticed.
Email just one sample picture of my work once in a while for people to enjoy.
Snail mail artist invitational postcards for reception.
Get features written about me when possible.
Do a show of new work at least once every 18 months and talk about my work.
Write about my work and find ways to get my writing and work seen together in
magazines and or social media.
J. What is your Social Media plan?
What platforms will you use? How often will you use it? How can you best engage
with people using social media?
Facebook interesting posts on art for followers to enjoy, as well as up-and-coming
events.
Linked In - post artist updates--same idea as Facebook.
Keep a blog (I wish) and post to Facebook once in a while.
Video myself at work--promote blog on social media.
K. What is your pricing structure?
I will base my work on the time I put into the piece by roughly $30.00 an hour
along with the comparative market value. My strategy for increases is yet to be
decided. One strategy will be to increase the hourly pay I base my work on.
L. Who is your customer?
Think about who would best connect with your work and write down everything
you know about them. (Hint: “everybody” is not a good place to start.)
My customers are wealthy people who savor the fine arts--music, literature and
the finer things in life--people who collect art. My customers live throughout the
world.
My customers are also people who visit Alaska and want something original from
Alaskan, particularly art.
My customers are also local people who may purchase my art.
My customers are people in education, community orginizations, and business
entities who look for a resident teaching artist to visit their schools, orginizations
and/or enterprises.
M. What are your business goals for the next five years?
Be as specific as possible.
My business goals include the following:
1) to create new art and art activities that would attract others for purchase and/or
to include into their programs.
2) to complete my artist book which I have begun and turn my story into film.
3) to complete a printmaking studio workshop in the building space I have begun
for such place.
4) to do a few artist residencies to produce new work.
5) to create a positive art community around myself.
6) to have my work shown regulary in a few galleries.
7) to complete a Master of Fine Arts Degree.
N. What are your business goals for the next three years?
Target your goals so they support one another.
For the next three years my goals include the following:
1. to finish my artist book and work on a story based off my book for film.
2. to finish my studio
3. to create new art work
O. What are your goals for the next year?
My goal for the next year is to do the following:
1. to finish a piece I intend to gift to Anthony A. Andrews School and mail it off to
them by August 15, 2016)
2. to finish the series of monoprints for my artist book (Finished by December 1,
2016)
3. to photograph the monoprints before binding them into my artist book.
(Completed by January 15, 2017)
4. to complete my artist book. (Completed by February 15, 2017)
5. to enroll into the Movie Maker Academy to learn how to promote my work in
film. (Enroll into class in April 2017)
6. to create a small edition of new work. (Complete by March 15, 2017)
7. to resolve my post baccalaurette education that has been left hanging and find
further direction for completion.
P. What are the tasks that you need to accomplish for the success of each
goal for this year?
1) List them all and be as detailed as possible. Put a deadline on each task. This
is your to-do list.
2) Assign costs to the tasks you need to complete this year.
Use this format:
My tasks follow my goals:
1. to finish a piece I intend to gift to Anthony A.Andrews School and mail it off to
them by August 15, 2016)
a. framing cost:
b. shipping cost:
2. to finish the series of monoprints for my artist book (Finished by December 1,
2016)
a. time: eight hours a day, four days a week
b. materials needed: I have all materials
3. to photograph the monoprints before binding them into my artist book.
(Completed by January 15, 2017)
a. check on photographic lighting for my studio to photograph in the winter/
cost:
b. check on professional photographic service for winter shooting.
4. to complete my artist book. (Completed by February 15, 2017)
a. materials needed: I have most. I may still need some/ cost:
5. to enroll into the Movie Maker Academy to learn how to promote my work in
film. (Enroll into class in April 2017)
a. Cost $3,000.00
6. to create a small edition of new work. (Complete by March 15, 2017)
a. materials needed: I have all materials--paper and ink.
7. To resolve my post baccalaurette program with UAF.
a. report what has happened and where my needs are not being met.
b. obtain counsel for resolution.
Q. Write an affirmation by finishing this sentence:
I am...
I am a capable, trustworthy, and creative person who brings good things to the
table for others to enjoy, learn, and also be encouraged.
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