Artist Help & Tips
What is Environmental Art # 4?
In identifying Environmental Art, a crucial distinction lies between environmental artists who do not consider the damage to the environment their artwork may incur, and those who intend to cause no harm to nature. Indeed, their work might involve restoring the immediate landscape to a natural state.
What is Environmental Art # 3?
Sustainable art might be an alternative term to environmental or green art, in recognition of the challenges that sustainability brings for contemporary art as a whole.
What is Environmental Art # 2?
Another way of expressing environmental issues in art has been successfully done by the British artist Andy Goldsworthy. He has become known as an environmental artist with his work reflecting what nature does over a period of time. In one example of his work, he covered a boulder with damp; very brightly coloured autumn leaves in the midst of a landscape, which he then documented in the form of photographs. The work over the following days disintegrated as nature took its course and the leaves dried out and either fell or were blown away from the boulder by the wind.
What is Environmental Art # 1?
I have often been asked, “What is environmental art?” and “Why are there so many different approaches to environmental art?” I am able provide answers to these questions by going into depth about my own specific approach to the subject and mention a few other artists who I am aware of that have also had the environment feature strongly in their work. I largely came into making this type of art by accident.
Donating your art for fundraising auction events # 2
There were some events where I noticed my works were being bundled together with far too many other auction items, resulting in my work not achieving the kind of price that I was comfortable with. I think what happened with some of these events, was that people just became too focused on quantity and not quality and as a result some really good pieces of art were compromised.
I ended up consulting the local regional Gallery director for his opinion about how I should handle this matter and was advised to just simply stop putting my art up for auction in these local events. This was not easy for me to do because these events were being run by very good friends and many of my contemporaries continued to work up for auction at these events, so in some ways I felt like I separated myself, but it was necessary for me to protect the integrity of pricing scale of my work.
Donating your art for fundraising auction events # 1
While charity events can be great marketing opportunities for you, the mix of people who attend include people with no interest in art as well as potentially, the serious collector. Anything is possible, just be sure to manage your expectations.
Competitions and Prizes # 2
I have found it a great thing to see an artist who I have recommended to enter for a major competition, being actually hung. Sometimes it can be the launch pad for their whole career by being seen in a prominent museum or nationally recognized gallery as part of one of these prizes. The fact is you have to enter in order to have the possibility of being hung all of even possibly winning.
Competitions and Prizes # 1
Read through the entry form and conditions thoroughly and ask around to see if the particular prize is reputable and recognized.
If the prize is an international one, check the details very clearly. Many young artists have fallen prey to paying large fees and attending exhibitions and competitions internationally because of the perceived boost for their career and recognition, only to later discover that the particular exhibition was not what they expected.
Business cards and post cards
Sometimes you may wonder whether it’s worth the expense especially if you are producing 1000 or more postcards, in my experience it’s worth the expense simply because it becomes a postcard that people are more likely to hold onto or pass on.
Artists exhibiting in a commercial art gallery # 2
Now it’s not a case of all bad stories. Of course there are exceptions and this is why I mention these cases. In my experience I have had some of the most amazing connections and experiences with certain art galleries and their directors. I remember one art gallery director who had a premium gallery in Western Australia and I was a member of his stable. He knew I had a certain amount of debt at the time and wanted to see how I would make my art being completely free of debt and certain of a regular income. So he cleared my debts for me and put me on a retainer, which lasted for well over a year. During this time I ended up producing some work, which to this day I am still very proud of. It was critically acclaimed and helped to establish me at the time. I will always be grateful to this particular person for his kindness and generosity.
See John Dahlsen’s Recent Works
