Search Results: g (2707)

Letters RollingStones.0
13

An emerging art photographer wrote, “An author has asked to use one of my images for the cover of her e-book and for exclusive rights. She would also like to have a custom shoot (with a model), where she’ll have exclusive rights to the new images to use in advertisements for the book. I’m unsure as to what would be a fair price to charge for this.”

The Berne Convention of 1886 protects an artist’s copyright from the moment the work is “fixed” — that is, from the moment you make it.

Letters Mary-Cassatt_Breakfast-in-Bed_1897
21

Termites, dormant over the winter, issue from a small hole in the corner of my studio ceiling. When I “Raid” them, they withdraw momentarily. Today, apart from the perennial easel-struggle, this is the main distraction. Rain streams on the windowpane and distant, silent lightning can be seen on the horizon. Here, all is quiet, save Mozart, and this studioscape is blessed with peace.

Letters robert-rauschenberg_retroactive-1-tribute21
20

Steve Koch of Clackamas, Oregon wrote, “Wondering if you might write on what it takes to go from being an amateur to being a professional. My dad was an independent businessman — if he didn’t get going, it wouldn’t get done. How to break the glass ceiling from one level to another? I know it’s not just “hard work” — ‘cause I have been doing that all my life. I was just introduced to Steven Pressfield’s book, “Turning Pro,” but I believe it was written for writers. How about some advice for painters?”

Letters robert-henri_storm-tide
22

When 25 new subscribers all have the same zip code, we can determine they are all from an art school or university. A professor of art or a painting instructor may have said to a class, “Here’s someone in the real world who struggles with art every day, writes this letter and gives tips. Subscribe — you might get something out of it.”

Letters Georges-Braque_1907-08_The_Viaduct_at_L'Estaque
53

Lee Hulcher from Clarkston Valley, Montana wrote, “I love to paint but being self-employed doesn’t leave much time, except in blocks of hours, sometimes days or months apart. Here lies the issue: When I step away from a painting that is going well, I dread the return, due to severe anxiety of messing it up and ruining the started painting. Of course, by the time I actually get to paint I am so stressed that I ruin the painting. I have found myself actually making excuses as to why I can’t paint. Do you have any suggestions, as I have a lot of unfinished paintings I would love to finish.”

Letters John-F-Carlson_forest
27

Last weekend, a ten-year-old friend took me to summer camp drop-off. We snaked a sea-hugging road through mountain passes while she described the intricacies of geocaching, bouldering, trail riding and ukulele. At bedtime without her Kindle, she told me she’ll be whispering in a cabin of seven others, with two teenaged counsellors on the other side of a soundproof curtain. After Starbucks, the highway narrowed to a dirt road and then a mulch path, where a Hawaiian-shirted adolescent wearing a wooden name badge motioned us with his clipboard into a parking space.

Letters e-j-hughes_Mill-Bay
15

One of the interesting things about Ed Hughes is the deal he cut with his dealer in 1953. The dealer was Max Stern of Montreal’s Dominion Gallery. Ed lived in a bungalow on the west coast of Canada. Ed and Max met only four times. Their deal was done by mail. Ed’s deal was this: “I’ll give you everything I make and you pay me a salary.” Ed was a pretty slow worker — about a dozen paintings a year during his good years. Gradually, his annual salary edged up. Then a new Jaguar was thrown in for good measure. Ed insisted on that. He liked the classics.

Letters robin-timms_on-the-trail
16

Robin Timms of North Vancouver writes, “I am hoping you might provide some words of wisdom as to how to make my approach to obtain some critical input from galleries. I am thinking of sending out this letter… and would welcome any advice.”

Robin’s “gallery letter” opens with a detailed artist statement followed by a request: “As an emerging artist, a practical next step in my painting journey is to seek realistic, honest and knowledgeable advice from those experienced in putting gallery shows together — to understand whether my work is gallery-worthy, or whether it even ‘holds’ together as a series.”

Letters Gramercy_SGTrio
15

On my birthday in 2005, I walked into a vintage keyboard shop in my neighbourhood and eyeballed a Wurlitzer electric piano. Portable and lightweight with a built-in speaker and removable legs, the Wurlitzer seemed like a sensible choice for a birthday folly. The next day I returned with my bank account drained, but the Wurlitzer had been sold. In its place was a 1973 Fender Rhodes stage piano — a different indulgence entirely. Not electric and made of wood instead of plastic, the Rhodes had 73 felted hammers that struck metal tines connected to an electro-magnetic pickup, like an electric guitar. Twice as heavy, she came home on a dolly — and up the stairs mostly on the shoulders of the guy who sold her to me.

Letters pablo-picasso_naked-woman-lying-on-a-blue-couch_1960
22

A subscriber wrote, “Some of my painter friends insist that I don’t have a unique angle in my work. I feel all I can do is carry on and paint as much as I can and not worry about it, and eventually it will come. To force it would be easy as I’m a professional designer and illustrator. It would also be shallow and dishonest, do you agree? Do you have some advice on this?”

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