I am not sure if the author, Ken Rockwell mind about re-posting his article here. I enjoyed it and will probably comment less at exhibitions from now on. Don't know if a crappy artist will make it big or a talent wasted. Malaysia is now known as 'boleh-land'. As it is often said, "anything also can". He wrote this as a parody to his satire "The Seven Levels of Photographers."
Do look up his website, http://www.kenrockwell.com/, for most enlightening articles on photography and make a donation to him if you can.
Anyway, this also as applied to photographers
"Dead Artist: Top Level 7
This is the highest level. Dead artists always produce the best work and therefore their pieces command premium prices. The work of living artists never transcend reality as well as dead artists, thus the price and quality differential.
Most artists eventually reach this level, however very few accomplish it in their own lifetimes.
Those who do fake their own death when they wish to step out of the public eye. For instance, Jerry Garcia faked his death after fans started to misbehave regularly at Grateful Dead concerts. The band repeatedly asked fans to chill out and stop beating on each other and threatened to stop performing if the fans didn't shape up. At this time Jerry also was getting tired of the touring and wanted to spend more time painting. After carefully consulting his advisors his death was staged to allow him to paint and be taken much more seriously. This also allows his new pieces to sell for top dollar as he creates them today from his home in Mill Valley north of San Francisco. These newly created works are marketed as "lost art" to imply that they were created before his staged death.
Likewise, Elvis Presley faked his death in 1977 and today manages his licensing business from his home in Sullivan's Island, South Carolina.
Successful Artist: Level 6
These are artists who are both well known and are able to manage their businesses well enough to support themselves entirely through art.
This is the level to which most artists aspire.
Getting to this level depends almost entirely on business skills and little on art.
Of course another definition of success is someone who's happy no matter why, that's just what I'm describing here. You can be very, very happy even at the bottom level of Unknown Artist.
Famous Artist: Level 5
This is also a good place to be, but not unless you also have a day job.
People know you, however being famous doesn't mean you can turn a profit and support yourself through art. Famous is good, but successful is better.
Mozart was recognized in his and our day as an extraordinarily talented genius and still died a pauper at age 35. He made it to Dead Artist with little to no time as a Successful Artist. Don't let this happen to you unless you prefer life after death.
Student or Teacher Artist: Level 4
This is a great place to be. Lots of sex, fun and learning on all sides. By all means get your MFA from and then teach at Yale in Connecticut. Here's how to start. For photography go to Yale here or consider Brooks who focus more on the technical issues. Brooks has better weather in Santa Barbara, California than Yale has in New Haven.
Remember that these schools are privately owned businesses who exist to make money from you, not for you. Of course all the promotional materials attempt to imply some connection between your success and attending their school, but don't bank on it. Either of these will probably set you back far more cash than they will help you in becoming successful.
Your future success is dependant on your sales and business ability, not your artistic ability. Your artistic ability has little to nothing to do with school. Do art school because it's far more fun and the people are far more interesting than those at engineering school, not because you think you need it to do art.
For instance, Ansel Adams never had any formal training and often "outsiders" are more respected in the art world than people who have come up through formal courses of study.
If you want to earn a living in art try taking the art classes at your community college and spend your school money at business school. Take art as a minor at business school, not the other way around. Business knowledge is critical to success, not art. If business is second nature to you by all means go to art school, but for most people business school is the plan.
Starving Artist: Level 3
This is just a cliché. "Starving" and "Artist" have nothing to do with each other save for this cliché. "Starving" has everything to do with "Moron," which has nothing to do with "Artist."
If you give away your work for bottom dollar you are a moron, not an artist, if you need the money to survive. Guess what: there never is the "next job with budget!"
If this is you I strongly suggest the almost free classes offered by SCORE and books on sales and marketing at your local library. This way you can learn the business basics of how to differentiate yourself from the morons so you can get top dollar. We've all seen bad work selling for top dollar!
The price of art has nothing to do with its value or its creator. It has everything to do with who's selling it.
Untalented Artist : Level 2
These folks can be very successful if they have business skills as we've learned above.
Likewise, talent has nothing to do with fun. If you are a crummy artist but manage to hang one-man shows and get laid a lot then you are talented, just not at art.
There's nothing wrong with lacking talent.
TIP: If this is you be bold about it. Do the gaudiest things you can and expand on your worst aspects. As one designer said "Bad taste is better than no taste: it's more fun to watch." Don't be shy, I'm not!
Unknown Artist: Bottom Level 1
This is also a fun place to be. No, you don't make any money at it, but your friends may enjoy your work and girls will get naked when they're at your pad and see your talent. Sorry ladies, but few guys will jump you based on your art unlike the other way around. It just makes you feel good yourself.
Keep your day job and have a blast!
Forgotten Artist: Level 0
Since these are forgotten I forgot to give them a level, whoops. A forgotten artist isn't known to be a forgotten artist until he or she has been rediscovered, usually after their funeral. Some forgotten artists are lucky enough to be rediscovered in their old age living as a starving or unknown artist."
Saturday, November 14, 2009
Thursday, November 12, 2009
A new Art Gallery in Klang Valley
I was told that a new art gallery just opened in Damansara. A six storey building with 900+ square metres is a large gallery. But only 85 paintings?
What is interesting is the VIP officiating the opening, Chairman of the Back Benchers Club, Tiong King Shing. Better known as the chairman of Kuala Dimensi that is the alleged key player in the PKFZ scandal.
Must find out more about the artists that are represented by this gallery.
What is interesting is the VIP officiating the opening, Chairman of the Back Benchers Club, Tiong King Shing. Better known as the chairman of Kuala Dimensi that is the alleged key player in the PKFZ scandal.
Must find out more about the artists that are represented by this gallery.
Thursday, November 5, 2009
The Malaysian Open Exhibition 2009
This exhibition was supposed to run from 1st November 2009 - 31st December 2009. Still waiting.
The National Art Gallery (NAG), for the first time, invited art galleries in Malaysia to participate. Works by Malaysian artists were supposed to be presented to NAG by the galleries.
Somehow or other, some artists were invited directly by NAG, while others were asked to work with galleries.
I wonder where this will lead to.
How can galleries help promote if they do not know what is happening?
How will it help artists if this exhibition is just another 'need-to-do' project without the sole purpose of helping galleries and artists promote works from Malaysia?
Now, I see lots of banners being put up for Art Expo. Why does NAG hold this Malaysian Open Exhibition at the same time as Art Expo, where they are the joint organiser? I am lost. Really lost.
The National Art Gallery (NAG), for the first time, invited art galleries in Malaysia to participate. Works by Malaysian artists were supposed to be presented to NAG by the galleries.
Somehow or other, some artists were invited directly by NAG, while others were asked to work with galleries.
I wonder where this will lead to.
How can galleries help promote if they do not know what is happening?
How will it help artists if this exhibition is just another 'need-to-do' project without the sole purpose of helping galleries and artists promote works from Malaysia?
Now, I see lots of banners being put up for Art Expo. Why does NAG hold this Malaysian Open Exhibition at the same time as Art Expo, where they are the joint organiser? I am lost. Really lost.
Tuesday, November 3, 2009
Different courses for different horses
In this instance, I am referring to the relationship between artist, gallery and buyer.
Today, while chatting with an acquaintance in the industry, I was given a glimpse of what a couple of art dealers market fine art in Malaysia.
This is what I heard.
The art dealer finds a young and/or relatively unknown artist. He may invest in this artist's work, or he may not. When he sells to a prospective collector, he will sell it at, say RM X. He will then tell the collector that he is happy to help the collector sell the painting at his shop a couple of years later, at a higher price. Alternatively, he can buy it back at RM X + Y. Guaranteed return, as I see it.
The artist sells his paintings, the collector gets to keep it for a couple of years, rent free, and the art dealer gets to find another artist and a couple more collectors and repeat.
Question is, is it sustainable? In a small market like Malaysia? Is this sustainable in the long run? Will the collector be able to 'unload' the painting a couple of years later at the agreed price? Hmmmmm. Would like to know more!
Today, while chatting with an acquaintance in the industry, I was given a glimpse of what a couple of art dealers market fine art in Malaysia.
This is what I heard.
The art dealer finds a young and/or relatively unknown artist. He may invest in this artist's work, or he may not. When he sells to a prospective collector, he will sell it at, say RM X. He will then tell the collector that he is happy to help the collector sell the painting at his shop a couple of years later, at a higher price. Alternatively, he can buy it back at RM X + Y. Guaranteed return, as I see it.
The artist sells his paintings, the collector gets to keep it for a couple of years, rent free, and the art dealer gets to find another artist and a couple more collectors and repeat.
Question is, is it sustainable? In a small market like Malaysia? Is this sustainable in the long run? Will the collector be able to 'unload' the painting a couple of years later at the agreed price? Hmmmmm. Would like to know more!
Monday, November 2, 2009
Malaysia Art Expo 2009
Another year just flew past. Too fast, for me. Art Expo 2009 is round the corner and I just wonder if I missed something.
Looking at the site, I noticed that a few advisors of previous years have gone missing. Notably Peter Liew and Cheah Yew Saik. Where Mr Cheah is concerned, having a 'Special Tribute Pavilion' may be a reason why he is not in the panel of advisors. What about Mr Liew?
I guess having the National Art Gallery as co-organiser will somehow change the direction of future Art Expo's, hopefully for the better.
Looking at the site, I noticed that a few advisors of previous years have gone missing. Notably Peter Liew and Cheah Yew Saik. Where Mr Cheah is concerned, having a 'Special Tribute Pavilion' may be a reason why he is not in the panel of advisors. What about Mr Liew?
I guess having the National Art Gallery as co-organiser will somehow change the direction of future Art Expo's, hopefully for the better.
Sunday, November 1, 2009
The path of mediocrity
I happened to come across a write-up by ARTERI on the results of a contemporary arts competition. Following that is a comment by this person. He wrote a response to questions on the identity of the 16 judges of the contest.
He wrote, " YOU GUYS ARE SO SERIOUS INDEED, FIRST DISKUSI, AND THAN, THE NAME OF JUDGES, WHY? WHY NOT JUST BIAR DIA ORANG SEBAGAI THE ANONYMOUS ART PROFESSIONALS?"
My response to that was, "The value (or lack of it) of a competition/ contest lies in the panel of judges. If these judges are not acknowledged experts on the subject matter, then the winners are just lucky that they are picked, maybe without merits - no different from lucky draws.
Should the winners walk away with heads held high knowing that they truly deserve the title and prize money? In my opinion, all depends on who the judges were."
And he responded with, "YOU CAN IMAGINE MY SURPRISE WHEN MELIHAT YOU ORANG HANYA MEMENTINGKAN THE NAME OF DIA ORANG. MANAKALA, ADA PULAK ORANG MEMBERI COMMENT YANG SILLY TENTANG “A COMPETITION…DEPENDS ON WHO THE JUDGES WERE”!
THE FACT IS, DO YOU THINK YOU ORANG AKAN MENANG DALAM MEA AWARD TAHUN YANG AKAN DATANG IF YOU KNOW WHO WERE THE JUDGES? ARE YOU MAKING ART FOR ATTRACTING DIA ORANG AJE?
C’MON, IT IS JUST A GAME! THE OBJECTIVES AND RULES OF GAME IS MUCH MORE IMPORTANT THAN WHO WERE INVOLVED IN THE PROCESS OF JUDGING LA - “MATAHATI WANTS YOU”!
WHAT DO YOU THINK? ^_^"
For those who does not understand Bahasa Malaysia, the gist of it is, why is it so important to know who the judges are...do you think you can win in the next contest if you know who the judges are.... just a GAME...objectives ....
To further respond to this would be a futile attempt to enlighten this chap/gal.
This is the sad state of affairs in Malaysia. There must be a big problem with our education system, when you have people who think that a contest is only a game. No wonder Malaysia is nowhere near its potential. Sad. sad. sad.
Where will we be in a decade? Really in the abyss?
He wrote, " YOU GUYS ARE SO SERIOUS INDEED, FIRST DISKUSI, AND THAN, THE NAME OF JUDGES, WHY? WHY NOT JUST BIAR DIA ORANG SEBAGAI THE ANONYMOUS ART PROFESSIONALS?"
My response to that was, "The value (or lack of it) of a competition/ contest lies in the panel of judges. If these judges are not acknowledged experts on the subject matter, then the winners are just lucky that they are picked, maybe without merits - no different from lucky draws.
Should the winners walk away with heads held high knowing that they truly deserve the title and prize money? In my opinion, all depends on who the judges were."
And he responded with, "YOU CAN IMAGINE MY SURPRISE WHEN MELIHAT YOU ORANG HANYA MEMENTINGKAN THE NAME OF DIA ORANG. MANAKALA, ADA PULAK ORANG MEMBERI COMMENT YANG SILLY TENTANG “A COMPETITION…DEPENDS ON WHO THE JUDGES WERE”!
THE FACT IS, DO YOU THINK YOU ORANG AKAN MENANG DALAM MEA AWARD TAHUN YANG AKAN DATANG IF YOU KNOW WHO WERE THE JUDGES? ARE YOU MAKING ART FOR ATTRACTING DIA ORANG AJE?
C’MON, IT IS JUST A GAME! THE OBJECTIVES AND RULES OF GAME IS MUCH MORE IMPORTANT THAN WHO WERE INVOLVED IN THE PROCESS OF JUDGING LA - “MATAHATI WANTS YOU”!
WHAT DO YOU THINK? ^_^"
For those who does not understand Bahasa Malaysia, the gist of it is, why is it so important to know who the judges are...do you think you can win in the next contest if you know who the judges are.... just a GAME...objectives ....
To further respond to this would be a futile attempt to enlighten this chap/gal.
This is the sad state of affairs in Malaysia. There must be a big problem with our education system, when you have people who think that a contest is only a game. No wonder Malaysia is nowhere near its potential. Sad. sad. sad.
Where will we be in a decade? Really in the abyss?
Malaysia Open 2009 - organised by National Art Gallery
Art Loft gallery had, upon being given only one week, submitted a couple of paintings for the above exhibition - specifically Keng Seng Choo and Melton Kais. Since submission in September, I have not received any further information from the National Art Gallery.
The exhibition was supposed to have started in September, postponed to October, and I understand that the exhibition was to started on 1st November, ie today. Will try to find some time to visit tomorrow.
Not sure if there will be an official opening.
The exhibition was supposed to have started in September, postponed to October, and I understand that the exhibition was to started on 1st November, ie today. Will try to find some time to visit tomorrow.
Not sure if there will be an official opening.
Friday, October 30, 2009
How can we develop the market in Malaysia?
A very difficult task that the government is not helping. That's what I think.
I had been surfing the web for more information, but am still at sea, trying to find out where we are heading. Will continue with this subject over the next couple of days.
I had been surfing the web for more information, but am still at sea, trying to find out where we are heading. Will continue with this subject over the next couple of days.
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