Emily Kate - TCNJ Theory @emilykneis - Tumblr Blog

Ch 17-18

1. Based upon your practice, what type of work would you sell on your website and what method of receiving payment would be best?

Most of my work is either abstract and large scale or installation-based and therefore not as easy to sell to a client (as opposed to a gallery). I think I would have to find a way to make my abstract "paintings" something that could more easily translate into a home and then go from there, but I think selling my abstract paintings would be my first option for selling, followed by my photography and digital/print work. The easiest method for receiving payment would be by letting clients pay via credit card through my site to my Paypal. Just because I already have one and am comfortable using it, it makes the most sense for me to set that up through my site.

2. Recall a time where you met with someone who turned into a person you network with now. What are you able to do for one another?

I can think of my former boss, who I worked under at an architecture firm during my winter and summer breaks in college. I attend TCNJ and as an ambassador I was able to get him connected to some of the higher-ups so that they could market their firm for potential projects. In return, he sits on the Arts Council in Morristown and has helped pass out my resume to several potential employers (one of whom remembered me because I apparently gave a tour to his son at TCNJ)- we simply helped each other put the names out into the open and backed them, but were able to forge new connections and potential clients/employers because of that.

3. In what ways could doing favors or helping someone help you in the short and long term?

"Every person you meet is a potential buyer, seller, collector, funder, producer, or knows someone who is one or more of these, and can help you in some way" - essentially, anyone you know can aid you in your practice, so it is important to be giving and help people when needed so that they can return the favor. Any favors, connections, or advice you give to someone may turn around and be beneficial to you in some way. Short-term, it could be as simple as a returned small favor (you use my new printer and I get a lesson on wood shop from you). But, if you continue to help someone, chances are long term you'll be more likely to be one of the first names they mention.

#readings

Ch 15-16

1. In what ways would you notice your brand being recognized?

I think you would notice your brand being recognized when you start to attract a loyal group of followers- people who consistently use you for your brand and your work, who will refer your brand to others they think you would be suited to, and when you have people willing to "pay more, drive farther, and wait longer". Are sales up? Do you see the same faces at your openings or talks? Do you have more opportunities? Any of these questions would show a rising image of your brand. When you become identifiable through your brand and you are referenced and commissioned through it, and when you feel that you've built a passionate and larger group of fans, you can notice the brand being recognized.

2. Why is it crucial for an artist to have a website?

Your website is often the first significant point of contact that most people will have with your work, and it should reflect your brand, personality, and goals. It is important to have an "about" page and a page showing your work so that your message and aesthetic are clear. A website is also where people can find your contact information and where they can buy work- the goal is to be user-friendly and attractive so that users will frequently come back or mention the page to friends.

3. How can email be a beneficial form of communication and how is this type of communication different from interacting through other media outlets?

E-mail is now used as a first line of contact and is the default for communicating in professional contexts as opposed to phone calls, so it is an easy way to get into contact with anyone interested in your work. While other media outlets like Twitter or Facebook allow you to notify followers of events, new work (images or announcements), etc, it is not professional or common for these outlets to be used as a one-to-one source of contact.

#readings

Combat Paper - Symposium

The Printmaking Center of NJ is home to Combat Paper, a program that helps veterans of war overcome hardships they face post-service. David Keefe, team member and veteran of Iraq earned his MFA at Montclair and was recruited to join Combat Paper. As someone who had trouble coping with and talking about his experience (patrolling the Euphrates river, where he believes he was responsible for the death of a small village but has no true answers), he joined the team and began to recruit other veterans to help in the healing process.

The goal of Combat Paper is to help soldiers cope with their experiences by communicating their troubles through printmaking. Old uniforms are cut up and pulverized and then turned into paper, which is then used by the veterans to create personal works of art as a healing process and a way to communicate their experiences with civilians in a way that isn't as overwhelming.

Three steps happen in the process of turning uniforms into art: Deconstruct, Reclaim, and Communicate.

Deconstruction involves destroying the uniforms by cutting them.

During this step, veterans talk to each other about their stories in an environment that is strictly veteran-to-veteran to maintain a safe and comfortable space. They are allowed to share anything they want- often it is the first time many soldiers reveal stories that have traumatized or haunted them, even after years of being back in the United States.

Reclamation involved putting the cut uniforms through a paper beater, which creates a pulp that is then pressed into paper. This allows soldiers to reclaim their uniforms as something new and reclaim their identity and experiences that they have shared.

Communication happens when the paper becomes a means of artistic expression. Despite the majority of soldiers having no artistic background, the resulting works are heavily emotional and expressive and serve as a means of communicating to the public. Combat Paper exhibits frequently and has artist talks at many shows where soldiers are free to talk about their work and why they've decided to create each piece.

#symposium

Ch 13-14

1. What contemporary, currently active artists do you feel your work is able to “have a conversation” with? Alternatively, what gallery or type of gallery (or company in your field) do you feel would be a good fit to represent your work?

Some of the artists who I feel my work can have a dialogue or interaction with include Motoi Yamamoto, Phoebe Cummings, and especially Anthony Pearson, to name a handful. I think my work would do well in a standard "white cube" gallery, as it isn't time based or site specific.

2. Aside from your friends and family, identify the type of person who has complimented or expressed being a fan of your work. By observing the characteristics of this person, attempt to identify your target audience or clients.

People who have expressed their interest in my work tend to be more commercial based, or those who are buying art for the home as opposed to for a gallery. Because of the strong formal elements and stylistic choices in my work, I think I can appeal to a relatively general market.

3. When networking at openings and events, do you think it is appropriate to mention your own work as an artist? When and how?

I think it's entirely appropriate to reference your own work when in a networking environment (gallery opening, annual fundraising event, etc). You don't necessarily have to strike up a conversation solely to market yourself, but by talking about a person's connection to the event, what artwork they are interested in, who organized the event, there's an easy segue into mentioning your own work (in an elevator pitch or 10 second intro) and describing and sharing in a way that shows you are competent and professional. As long as you are not arrogant and can talk about your work or upcoming exhibitions without bragging, insulting, or criticizing other artists or work, you should be able to carry a pleasant conversation and potentially create a new contact.

#readings

Ch 12 Questions

1) In your practice, how do you think that you will benefit from social capital through negotiations?

Social capital is the collective or economic benefit derived from cooperation between individuals and groups- essentially by negotiating in a way that is beneficial to both parties, I would be building strong social networks and therefore value. The more people you are able to successfully negotiate with, the more likely you are to be able to continue to do business with them or have them as referrals to other potential clients (following the who-you-know idea). If I negotiate in a positive and professional way with clients I'll be building a potential earning relationship.

2) What are the long-term benefits of participating in negotiations in your practice?

Long-term benefits include evaluating yourself and your goals, and understanding timing, benefits, and costs of negotiating. Again, if I build strong relationships through collaborations or negotiations with partners or clients, I will have people to consider in the future for my business. If I am looking short term and trying to negotiate for the time at hand, my vision may be too short-sighted and aggressive, and I may hurt my progress in the future.

3) During your art practice have you gone through a negotiation? If so, what facts did you know about yourself, the situation in question, the other party's information and the timing? What was the outcome?

I've only ever negotiated on price with a commission, and I knew that I had a bottom line I wasn't comfortable going below or I wouldn't make money. I knew the client was asking for a work for a new apartment, so I knew that money may have been tight for her, so I tried to come up with a work and a price that both satisfied her request but also fit her budget. At the beginning she expected too low of a price and I told her I wouldn't be able to make a piece for the amount she asked, and we worked towards a price that both she and I were comfortable with. She has since become a regular client.

#readings

Ch 12- Negotiation

Quick myth-busters

The process isn't mystifying: it can be a boardroom full of businessmen and lawyers, or it can be collaboration between two artists. It is a give-and-take and good working relationship that represents good negotiation.

Opportunity to build social capital: negotiation can help build the production benefits that comes of building solid relationships and social capital.

Negotiation isn't adversarial: negotiate with instead of against someone, approach it as a collaboration where there is no "winner"- you are partners, not adversaries.

Zero-sum thinking is limiting: avoid thinking in win-win or lose-lose terms

Long-term benefits: as an opportunity to build capital and strong relationships, you can create future transactions. Consider impact of actions on long-term reputations- if you use accumulated social capital wisely, it will continue to grow over time

Five Guidelines to Negotiate:

Separate what you believe from what you know: disciplined and dispassionate fact finding- know yourself (what you want, where you draw the line, and where does this negotiation fit into your plan), know the situation, know the other party (their information or guidance), and know the timing (deadlines and dates)

Just because you can doesn't mean you should: using leverage or power is not always to your advantage in long-term relationships. Overreaching can jeopardize an agreement or relationship- be disciplined and self-controlled, use leverage only when necessary

Understand the benefits and costs: think through the consequences in a negotiation if you become too emotional or use "star power" and leverage to strike a deal in your favor- short-term might be good, but it can hurt the long-term

Keep a little mystery: exercise self-control and restraint- honesty is good, but share only what relates to the negotiation. Keep your own counsel, over sharing can hurt you

Know when you'll walk: have a time when you can walk away- identify your must-haves and know what you can't accept

#readings

Khandahar Treasure - Senior Symposium

Rhangina Hamidi, an Afghanistan native who moved to the United States in 1988 uses Khandahar Treasure as a means of staying connected to her roots and providing job opportunities to women in Khandahar, one of the poorest cities in the country.

Background

Taliban predecessors forbid girls from entering school and threatened to deface family with acid if they were non compliant

Fled to United States as part of the UNHCR program as refugees

Father traveled to Pakistan every year and returned with gifts of embroidery, which connected Rhangina to her roots on a material level

Rhangina traveled to Afghanistan in 2001 after US troops invaded

Donated $10,000 worth of necessities but felt that it was wasted because the supplies easily ran out

Moved into Development in 2003 with Afghans of Civil Society to work on social and women's programs

Founding

After receiving social and women's programs as her job, she decided to use the beauty of embroidery as a way to earn money for the women

Employs over 400 women

Doing business in the region is difficult because of lack of bureaucracy, politics, and lack of vision for the city

Believes that a woman earning gives her power and opportunity to become an asset rather than a burden to the family

Changing gender bias and generational mindset that women can not be self-sufficient

Women are not victims- hopes that this new opportunity changes women's and children's lives and society

Believes women can rebuild the country with a new face and future

Stats

Home based initiative- all women work from their own homes, and there is a central location in Khandahar for finishing products

22 full time females, 7 full time males (guards, drivers, marketing)

Almost all workers are illiterate

All measuring and finishing is done at the factory to ensure quality is the same across all products

Women are paid on the spot

100% of sales go back into the project

Finding employees through word of mouth- only employing Khandahar women, and often families (mothers and daughters)

20% of sales come from the USA

Rhangina was incredibly eloquent and well learned on the status of women in Afghanistan and her hopes for the business. Her vision and mission are long-term, and she hopes that with a growing business she will be able to truly inspire change for women in Afghanistan and gather support for their cause. "While we are affected by war, it is art that serves as a primary tool of that society's expression".

#symposium #khandahar

"History of Histories" - Senior Symposium

“History of Histories, Afghan Films, 1960-Present,” presented by artist Mariam Ghani

Newsreels and clips: 1967-1980

The clips were mostly black and white, demonstrating political or military events and some social elements of the culture during this time. Things like military parades, group weddings sponsored by radio stations, and singing and dancing were all short clips within the compilation. Mohammad Daoud was a frequent subject in all of these clips, with strong support and favor from the public.

Ghani selected these films by trying to find clips that were very specifically representing the period of time they were filmed during, or to find some aspect of history that was not well remembered (like footage of Daoud before he was assassinated).

_______________________________________________________

"Those Who Fire First"

A video of the destruction post-battle in Jalalabad. Women, children, and even trees and crops were not spared. The city was attacked by extremists that wanted to capture the city to save the government, but eventually Jalalabad was regained.

_____________________________________________

"In the Name of Opium" - Jump Cut

A full-circle story, the first and last scene are the same scenes with the exception of the bracelet wrapped around the final man's bracelet (this turns out to be the son of a woman who put him in a box and sent him down the river). Mostly a commentary on the way opium affected people's lives, and how those lives tend to overlap. I personally liked this short film.

____________________________________________________

“Dusty Night”

People who lost businesses, farms, or homes after the war are paid by the government to sweep the roads and keep them clean after dark. They essentially do a job that will never end- cars continually pass and recover the road with dust. They believe that as long as they live they will suffer through this job.

_______________________________________________

“The Postman”

My favorite film, it follows the daily happenings of a postman in Kabul trying to deliver mail when the addresses are not correct. Also shows the post-office in an intimate and behind the scenes setting- how the mail is sorted by hand, how addresses are followed until they are exhausted, and how everything is still by foot or bike in a city where people make up their own house numbers and addresses. The man has to go person to person, asking for the addressee until someone knows them and can point him in the right direction. He's very dedicated and good-spirited.

#symposium

Ch. 11 Business Law

business structure -legal entity, the what and how of your business -what = type or category, how = way you run your business -choose a framework that best suits your needs consider income, what type of commercial activities you conduct, how many people are involved, how complex the organization has to be, how much money you generate, and if the business is profit or non-profit sole proprietors -someone who works alone and sells artwork/service without a business structure -someone who owns an unincorporated business where the person and legal entity are the same -no legal formalities required, no corporate formalities personal liability -a court can order your assests seized to satisfy a legal judgement -a sole proprietor is legally personally responsible for anything that goes wrong in the business fictitious name -if you conduct business under a different name, you need to register it as a fictitious name (assumed name, trade name, doing business as ___) taxes -as a sole proprietor you withhold and pay all your own taxes -you can deduct legitimate business expenses -you cannot defer to another tax year and must pay taxes on income earned from the business year it was earned partnerships -promotion business is considered a legal entity known as partnership -partnership = a relationship in which two or more people carry on a trade or buiness, with each sharing profits and losses of business -versions: general, limited, and limited liability general = equal rights and responsibilities for management of business each partner represents the full partnership individually each partner can enter a contract with someone else on behalf of the full partnership, without the other being aware taxes are “pass through” - pass through to partners who include the profits on their individual returns limited = general partner and limited partner limited can limit or restrict their liability on par with amount of investment general partner retains control of the business limited liability = individual partners are not personally liable for wrongful acts of other partners considered a general partnership in taxes c corporations -legal entity separate from those who form it, and formed for profit -has a separate business and tax identity from its owners (shareholders) -c corp can own property, engage in business transactions, sue other businesses must issue shares of stock to shareholders, establish a board of directors, file own income taxes s corporations -legal entity separate from those who form it -do not pay federal income taxes, income is taxed at shareholder level limited liability company -neither a partnership nor corporation, but its owners are members -no requirement for minutes, meetings, or record resolution -right to elect the pass-through taxation option -dissolves upon death of a member not for profit corporation -corporation formed for other purposes than to make a profit (charitable, religious, educational, scientific, or public) -makes money from charitable efforts and activities, and retains funds for self-preservation -must apply to be tax exempt

#readings

Ch. 10 Questions

How would copyrights, trademarks and patents apply to you and your practices?

Copyrights are important to protect your intellectual property once it is put in a tangible medium that's able to be reproduced. This protects original works of authorship, and includes pictorial, graphic, and sculptural works (which falls under the kind of work I do) so long as it is original, tangible, or derivative. However, after a work is sold the ownership and copyright usually falls to the new owner, who can attribute the artist. I believe this would be the most useful and important way to protect my work and practice in the future.

Trademarks are words, phrases, symbols, or designs that identify or distinguish a source of goods from one party from another. Artists can use these if they want t protect a name or symbol for commercial use to identify themselves of their works. If I were to brand myself or a commercial design for a company that would be the case in which I'd need a trademark.

A patent is an intellectual property right that excludes others from making, using, offering for sale, or selling the "invention". Utility patents and design patents are two forms of patents. I would assume in my practice that a design patent would be more useful, which is granted to anyone who invents an original design for an article of manufacture. However, securing a patent is time consuming and expensive and gives sole right to the owner for a limited time. What is important to know about “art for hire” and its legal rights?

Art for hire is important because while artwork is usually owned by the creator, whoever commissions the work for hire is considered the author and owner of the copyright of the work. In cases where you are working for hire or collaboratively, the artwork will either fall under the company's control or joint work. It is also important to create contracts in these situations to understand fully who is the true author or owner of the work upon its completion. What is an advantage to using creative commons?

Creative commons licenses allow for flexible use and exchange of copyrighted material. Essentially they allow artists to share their materials more freely, and owners can also restrict those who use their material to create derivative works.

#readings

Ch 8-9

1. You are looking for some used furniture for an upcoming exhibition and find an ad-"Selling some chairs and stuff; price is non-negotiable." Would this ad fulfill the requirements of an appropriate offer? What would make this offer more appropriate?

This offer isn't appropriate, as an offer must be specific and definite with details included in order for you to accept or reject the offer. Without knowing all the details, like exactly what this person is selling or at what price they are selling the items, it's impossible to make an acceptance, rejection, or counter-offer. To make this more appropriate, the seller could list the exact furniture items they are selling and the price of each item, or the items in total.

2. Which do you think is the most important of the "common" clauses when creating a contract (e.g. "Whereas", Merger and Integration, Non-Waiver, etc.)? Why?

I believe the Merger and Integration clause is the most important because it identifies that both parties are completely aware and understand the exact terms of the entire contract. Without both parties' confirmation of understanding all of the terms, the contract likely wouldn't be signed. This also prevents the contract from being altered in any way.

3. When/why is it advisable to consult a lawyer about a contract?

If you are unsure of the terms of a contract or do not agree with terms that have been proposed to you, you should contact a lawyer. They will be able to clarify what the terms are, what your responsibilities are, and what would happen if you were to break the contract and any of its terms.

#readings

Ch 6-7

1. Why is it important to build a budget, even if art-making isn't your main source of income?

It's important to understand what you can and cannot afford, so you don't overspend on art materials and sources. By building a budget for your art practices as well as your lifestyle, it allows you to plan for how much you can devote to your second practice from your initial income.

2. Based on your current semester spending, pretend you are spending another term here- build a budget for that semester.

I've currently spent approximately 400 dollars on materials and travel for the first half of this semester. If I continue working through this thesis for next semester I predict I'll need approximately 800 dollars.

3. What is the difference between actual cost and opportunity cost?

Actual cost is a tangible monetary value, and opportunity cost (true cost) is the money you would have if you hadn't been spending money somewhere else (for instance, how much money would you have if you hadn't gone to college and had worked instead?)

#readings

1. Make a sample cost tree to better examine your costs as an artist.

2. Based off of your cost tree, look into your future and try to create a general pricing for one to two of your pieces in the senior exhibition.

Found materials- research (computer and physical), travel, collectionBought materials- travel & expense Promotion- website, business card, donation into cost of invitations, postcards, food, install Studio fee General time of building & installing piece Depending on the cost of the materials and installation as well as the scale (which I plan to have around 16 feet long), I'd price my piece between $800-$1,200.

3. Why is it important to analyze your financial status?

It's important to understand the costs associated with a practice, as well as to understand factors that will affect your income and general cost of living and producing work. Dealing with student loans, supplementing your career with another job, and other financial factors will have nothing to do with sales but will still affect how much money you're making. In order to be profitable, you have to learn to evaluate costs associated with project, practice, and time.

Ch. 2

Why is it important for artists to learn about finance and all the terms?

In order to be profitable and support yourself as your own business, you need to be familiar with financial terms and practices when dealing with commissions and freelance work. Without understanding the ins and outs of financial language, or the protocol associated with things like invoices, W-9 forms or balance sheets to keep track of receivables or liabilities, it is possible for an artist to lose opportunities, run into debt, bankruptcy, or audit. Make a sample invoice sheet for you and a client over a past artwork that you have done.

After graduation, you are commissioned to make a piece annually for Monet Inc. at a monthly salary of $4000 starting June 1st. On their invoice for May, however, you are not shown on their invoice sheet. Why is that?

If your monthly salary begins on June 1st, their invoice for the previous month does not include your cost.

Provide examples of current variable costs for you this semester.

Any raw materials needed for projects, gas money to transport and pick up materials and find sites

#readings

Ch. 1 - Responses

1. What is your personal mission statement and vision statement for your long term career goals as an artist?

Mission Statement: My work is meant to draw bonds between our created culture and the world that we inhabit, calling into question our methods of living and the lifestyle we've chosen as a culture.

Vision Statement: I intend to work in a creative management position as a way to connect business-minded practices with the artistic nature of a gallery or museum setting. I will continue to make art as a means of expressing and analyzing my own relationship with both the creative working world and my place within the natural environment.

2. What would be some issues an artist encounters during their environmental scan? What would they need to address?

An environmental scan for an artist could include difficulties such as finances or time management, or a general lack of knowledge in terms of financial, legal, and business practices. An artist may not have time to complete an entire scan of their environment in order to identify all possible issues. Without a proper scan or understanding of every issue deeply, it is impossible to tell how each factor would impact the artist. By making themselves aware and savvy in financial and legality issues, the artist would be better protected and productive.

3. Define your SWOT analysis for you future (3 to 5 year) artistic goals.

STRENGTHS

A strong grasp of formal elements Artistic skills: linoleum and screen printing, etching, woodworking, metal working, plaster/casting, drawing, painting (acrylic, tempera, oil), 35mm film and DSLR photography, compositional knowledge Proficient in Mac software, Microsoft Office, Photoshop

Non-artistic skills: public speaking, research, organizational skills, management (minor in business management), travel

WEAKNESSES

Not proficient in InDesign, Illustrator, other computer programs Lack of experience in art or business job setting Time management Art writing Financial inhibitions

OPPORTUNITIES

Potential scholarships, grants, and show opportunities for students Networking through Ambassador job to meet several connections and stand as a face for the college Internships in gallery management available to students

THREATS

Financial issues while paying off student debts Job market is extremely tight, lack of experience makes finding even entry level positions difficult Unsure of living situation within next 5 years, will be job based Losing drive for art-making if occupied by another job

#readings

Senior Symposium - Ruane Miller

"Through the Window of My Mind" - TCNJ Art Gallery

Ruane's collection of paintings and prints were a take on what's past, present, and what's to come- and how each moment of time is a connection between the artist's inner self and the outer world.

My personal question to Ruane dealt more with her process than with the meaning behind her work- what stuck out to me on several of her pieces were the different patterns woven into mountains, canyons, rivers, deserts, clouds, and figures. While her work had a strong desert and southwest influence, and while several patterns reflected that time spent within this environment, many of her works felt more patterned than representative. These textile-like designs also had a presence as a frame on many of the works- either directly on the outer edge of the piece, or in a hand-painted frame that echoed said edging. My question to her was how she chose patterns that accurately represented the moment that she was depicting.

Ruane's first response was "I have to think about that. That's a good question. I guess it was just a matter of what felt dear to me." She answered that each pattern was of her own design- and while some were clearly influenced by textiles and colors found during her residency, each pattern was meant to convey her relationship with each space and memory. Some were bold, overtaking the pieces, while others served as edges to give a window into her inner self and its emotional state. The materialization of this "frame" was her frozen moment of envisioning the outer world through her own realm of self. As her introduction states, "She submits to her sensory memory of these environments- that singular form of vivid through short-lived memory that enables us to retain our raw impressions after experience has come to an end and before they are replaced by other, newer memories." The patterns are interpreted as her first impression- with vivid colors, strong lines, and a bright energy common in each of them.

#symposium

#works

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