This week on Design Crush:
An Instagram Moving Sale for Oklahoma City locals – there are still a few pieces left!
We’re giving away 2 copies of Lisa Congdon’s book – Art, Inc. – all about making your art your full time job.
Take a peek at these 10 August DIYs that are almost too good to be true.
Dreamy blurry paintings from Philip Barlow.
The new school year means a fresh start and new notebooks to me! Steven Quinn has managed to create the only clown art I will ever endorse.
There’s color and then there’s COLOR. Boo + Boo Factory does the latter so right.
Beautiful woodworked pieces for the kitchen and home by Ariele Alasko.
Colorful, geometric, hand-strung Sputnik Lamps.
A dishware pattern – Unsealed – created with the idea of showing off the porcelain in mind.
The Unsealed line of dinnerware is basically the stuff designers’ dreams are made of. Created with the thought of highlighting the porcelain instead of hiding it, the pattern is made by repeating simple shapes such as triangles or dots into solid fabric-like work of art. Designed by etc.etc. for Rosenthal, you can make it yours here.
Behold, the magic of wood and cotton thread in the hands of Julie Lansom. Each of her Sputnik Lamps is handmade in Julie’s Paris studio and varies from the others depending on the geometric shape of the form and which colors she opts for.
I always know I’ve found something especially lovely when my breath catches a bit in my chest, just like it did when I first saw the woodwork of Ariele Alasko. Though Ariele creates everything from headboards to tables with her hands, I’m especially pulled in by her kitchen goods and it would appear everyone else is as well because Ariele’s shop is entirely sold out at the moment.
When it comes to fashion there’s wearing color and then there’s wearing COLOR. Chicago’s Boo + Boo Factory has the all caps version down pat. Not only are the color selections bold and mesmerizing, but the textures of the leather take every piece to a new level of stylish interest. Adding one of their necklaces to the plainest of plain outfits might just be the most fun accessorizing ever!
I’m usually indifferent to clowns, but when it comes to clown art I’m firmly in the No Thank You category. It’s usually tacky and awful and the stuff childhood nightmares are made of. But Steven Quinn‘s take on the genre – Clown Face – involves found black and white photos and spray painted stencils, which lands firmly in the “cool art” category.
You know that scene in You’ve Got Mail where Tom Hank’s character tells Meg Ryan’s that if he knew her address he would send her a bouquet of freshly sharpened pencils? That’s exactly how the beginning of the school year makes me feel, even though I’m no longer a student and don’t have kids. There’s just something in the air that to me signifies a fresh start, maybe even more than New Year’s does. I still troll the school supplies section as soon as it hits the big box stores, but I hold myself to one purchase. Usually a new notebook.
Whenever I take an accidentally blurry photo on my phone I don’t trash it, I put it into a folder with other “mistakes” that turned out to be beautiful in their own unintentional way. I guess that’s the same level that Cape Town artist Philip Barlow‘s paintings resonate with for me. Though he paints in a traditional landscape style, Barlow’s work rides the line of physical and spiritual through his mastery of light. To me they perfectly capture the lazy days of summer and time spent in every large city.
If you’re creative in any way chances are you’ve daydreamed about making a career of it, and that’s exactly what Art, Inc. is about. It’s essentially a guide to making your dreams a reality and debunking the myth of the starving artist written by someone who has taken the plunge and lived to tell the tale. Learn about the ways artists can make a living from their art (you don’t have to be on a street corner with an easel, although that was always sort of my dream). Lisa shares her knowledge of licensing, sales, teaching, promoting, managing, and tons more. Not only from her own career, but from art world pros like Paula Scher, Nikki McClure, and Claire Desjardins who we’re going to dig a little deeper into below with an excerpt.
Montreal native Claire Desjardins spent her childhood summers in the countryside, where she discovered painting. But although she loved the art form, she chose to study business in college as a way to a stable, well-paying career. After graduating, she worked for ten years in technology and marketing. Several years ago, she set up a painting studio at home to get back in touch with her creative side, painting for the first time since she was a child. Over time, she moved from small to large canvases and began painting abstractly. By 2011, she was selling enough of her work to pursue art full-time. Since then, Claire has received grants to attend artist residencies at the Vermont Studio Center and Da Wang Culture Highland in Southeastern China. She is represented by Galerie Lydia Monaro in Montreal and Muse Gallery in Toronto and is a top-selling artist on Saatchi Online. Claire’s work can be found in both private and corporate collections around the world.
Lisa Congdon: As a self-taught abstract painter, how did you go from painting in your studio to selling work?
Claire Desjardins: I’d been painting for several years, and around the advent of Facebook, I started posting my work there. I had given a painting to a friend and then another friend of his saw it on Facebook and he contacted me about whether I had anything else for sale. That was how it all started. I began meeting a lot of people online who were interested in my art. That year I did quite well with my art, but I was still working for a marketing communications company. I worked only four days a week, so I would paint on my free weekday. My company was restructuring and merging, and I got laid off in 2011. But it was a perfect time for me to leave my job.
LC: How did you first get gallery representation?
CD: I sold a painting to one of my fans on Facebook. It was one of my first paintings that I had sold to someone I didn’t even know, so it was pretty exciting. I made sure that I really took care of her. I packed the painting properly, sent it with a booklet of my art, and called her to make sure everything went smoothly. Sometime later, I received an email from Muse Gallery in Toronto. Apparently, the woman from Facebook who bought my painting lived around the corner from the gallery and had told them about me. The gallery owner looked me up, liked what he saw, and contacted me to work on an artist agreement together. I did some research on them and called other artists who the gallery represented. I asked them about their relationships with the gallery and eventually, it all came together. I borrowed my father’s minivan and drove a bunch of paintings to Toronto! They have represented me since and have given me a couple of solo shows, too.
LC: Right around the time you left your job, Anthropologie contacted you. They sell your original paintings and license your paintings to make prints and for use on their products. How did this relationship come about? What are the advantages and disadvantages of working with a big company to sell and license your work?
CD: It all began one day when I got an email—and in the subject line it said “Anthropologie Interest.” They were looking for local artists to feature on the walls and windows of the new Montreal store. Four of their buyers came to my studio. I heard that they had read about me on Mocoloco.com.
There are both advantages and disadvantages to working with a large company. The main and obvious advantage is the exposure of my art. Other advantages include the additional revenue, as well as seeing my art on different products. The disadvantage is less obvious; it’s that a small portion of the artistic community came to perceive my art as too commercial or that I’m “selling out.”
LC: What is your main mode for selling original work now?
CD: By far, I make most of my sales online. Specifically, I’ve had success with Saatchi Online. In order to nurture this relationship, I try to keep up with my social networking as much as possible. This is a very important component to my job, as it’s the only advertising I can afford (it’s mostly free!), and it reaches so many people. Whenever I post a new painting online, I make sure to link it to a page that allows people to purchase my art, like Saatchi Online. I make sure that I give them credit for the good things that they do, in a timely fashion. So if they include one of my pieces on their home page, I make sure that I blurt it out for all to read, on all my social media like Facebook, LinkedIn, Pinterest, and Twitter.
LC: You are an advocate for signed agreements— whether in licensing or when you work with galleries. Why are they important?
CD: When you sell or license your art, money and image rights are involved, so spelling out the rules in advance helps to manage expectations and eliminate surprises later on. It protects both the artist and the reseller. Proposing the writing of an agreement should not be perceived as an unfriendly gesture or an indication of mistrust. In fact, it should be considered an act of ensuring mutual understanding. We all have contracts with our cable or cell phone companies, so why wouldn’t you have an agreement with the resellers of your art, whether they are galleries, agents, or commercial companies? The exercise of writing an agreement will raise many questions that had not been thought about before. Those questions can be imperative in terms of the health and sustainability of the relationship.
And once again here’s the fun part – two of you have the chance to win a copy of Art, Inc! Whether you’re an aspiring artist or know someone who aims to be this book is the guide you’ll want at arm’s reach. You have until midnight CST Sunday, August 24th to toss your hat into the ring! a Rafflecopter giveaway