art professionals how the fuck do you fix this drawing and HOW DO YOU DRAW THE OTHER EYE
seen from United States

seen from United States

seen from Malaysia

seen from Malaysia
seen from Russia
seen from United States

seen from United States
seen from Germany
seen from United States
seen from Germany
seen from Germany

seen from United States
seen from Hong Kong SAR China

seen from United States
seen from China

seen from Russia
seen from China

seen from Germany
seen from Germany
seen from Canada
art professionals how the fuck do you fix this drawing and HOW DO YOU DRAW THE OTHER EYE
In conversation: Niamh Coghlan, Richard Saltoun Gallery
In conversation: Niamh Coghlan, Richard Saltoun Gallery
It’s late on Friday afternoon here in London and we’re catching up with Niamh Coghlan, Director, Richard Saltoun Gallery about how she’s getting on under lockdown, the amazing year long initiative 100% Women, which ran from March 2019, to show only women artists, and what we can look forward to in the future. I joke that Friday afternoon isn’t an ideal time to schedule a meeting, but it’s 8 am…
View On WordPress
Royal Academy elects first woman president
@RoyalAcademy elects first woman president #womeninart #rebeccasalter #RA #artnews
Rebecca Salter, President of the Royal Academy of Arts ©Getty Images, Tristan Fewings © Getty Images, Tristan Fewings
Rebecca Salter is the first woman to be elected President of the Royal Academy since it was founded in 1768.
The Royal Academy of Arts has announced Rebecca Salter has been elected the 27th President of the Royal Academy. She succeeds Christopher Le Brun PPRA who has stepped down…
View On WordPress
NYFA Source lists over 12,000 awards, services and publications for individual artists and art professionals. More programs are added everyday.
Art professionals today are notoriously busy. They are ceaselessly writing, networking, traveling, tweeting, attending openings, managing their "brand," and responding to emails. This level of hyperactivity is perhaps required today in order to earn even a modest living in the art world. But how does it affect the work that's produced, and the discourse about this work? Has the obligation to produce something eclipsed the slow, patient work of producing something good?