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AUGUSTANA STUDENT INVITATIONAL

Personally, I have moved on from Augie, but that doesn’t mean there are not things happening. In fact, quite the opposite! Did you know that Sioux Falls’ very own, Augustana University hosts several different gallery exhibits every year? I’m always trying to stick my head in the doors, just to peak at what they’re up to.

Currently, they are housing The Augustana Student Invitational, which runs June 1-September 1, 2017. Augustana is located right off of 33rd Avenue; whereas, the Eide/Dalrymple Gallery is a few blocks down on Grange Avenue. Before we get started, I want to add that there is some incredible work displayed in this show by all the participating students. By all means, go take a closer look at all of the interesting pieces! With that, let’s dive in!
-Hannah

DR. LINDSEY TWA

Does the sophomore and junior summer show normally happen every year?

Yes, this is traditional. We always do our Augustana Student Invitational every summer. That’s been true for a couple of decades now, I believe. So, every summer our rising juniors and seniors get the opportunity to get a professional exhibition under their belt as a part of the group show. These are curated out of our sophomore and junior reviews, which are the two major check points for the art major on the way to their senior thesis show.

What’s some outstanding history with the Edie/Dalrymple Gallery?

Sure! Well, the Edie/Dalrymple Gallery was founded in the late 60’s with former professor Carl Grupp, who was a signature print maker of the region and professor of drawing here. He’s still in town. He also founded our permanent art collection. He did it sort of informally, in addition to his very heavy load over the years, by bringing in professional exhibitions and then having student shows. Then eventually, he got a gallery space that is now the archaeology lab, and then this space opened new with the building in 2006. We are free and open to the public. We always do 7:00 pm – 9:00 pm exhibitions every year. There’s always the Senior thesis show that closes our academic year and then the Sophomore, Junior Invitational is always our summer exhibition.

So, does this run the whole course of the summer?

Sometimes it varies on our upcoming exhibitions. Typically, it’s open all summer and then closes the first Friday of the academic year. We use that as a closing reception to welcome back all of the students from their summer breaks, and to reconnect with them. It gives them a chance to see their show, because for many of them out of town, this gets hung post graduation. So, they won’t see their work in it until they step back on campus in the fall. So, we keep this until the first week of classes.

Of the students here, how would you say their progress has been with their work?

Each one of these artists is worth highlighting and elevating. One of the best things about this being our summer show, traffic tends to be a lot lighter, but we also have a lot of campus tours going on. So, the students that are here as prospectives looking at the college, they get to see that all of these pieces were created in an Augustana art class, and they get to see who the artists are. I love this show because I see these students in the art history classes, but I don’t really get to meet them as artists until I get to sit with them in their sophomore and junior reviews. It’s just fun to have. So, we have, of course, sophomore students that are maybe relatively early to the major. We have several students that are double majoring. Many Augustana students also triple major. Then we, of course, have students that are almost on their way to their senior thesis show. So, Sydney Kelly would be one of those that already has a very advanced and large body of paintings, then she’ll be wrapping up next year with both her art major and her student teaching for education major. It’s just a fun show!

Alex Meyer When the World Was Wild and Waste Scenic Design 2017

Is this show, specifically, any different feeling than previous ones? Is there anything that struck you differently than previous years?

I mean, each show has its own characteristic and is as unique as the group of artists that are here, right. A couple of fun things to point out, we have Alex Meyer’s large stage set. He’s incredibly talented. So, this might be a nontraditional form. It’s his photography, the concept drawings, and then the model on it. He actually presented that in Washington, DC and got a national award for his set design! We were very excited for him to bring that back to campus, and then to display it. This show gives a great set of how wide-reaching Alex is.

Alex Meyer Powder Gate Memory 2017

That stained glass tower up in the middle area on the pedestal is his, and then we’ve got these graphic design pieces from him. Right next to them we’ve got Marissa Hight’s digital piece. She’s a biology and art double major, and is interested in medical illustrations and sort of blending that. So, that’s a fun piece, along with her hand cast one. Actually, in the Black Hills this summer she got a research appointment at a research lab in the Black Hills. She will be doing laboratory research, but they were also interested in allowing her to do microscope drawings and proofing images for publication. She’ll get really good experiences being a visual artist who assists the scientists. This year we have Anna Reich in our photography department. We have far more photography present. So, that’s another difference. We just haven’t had a substantial body of photography in a while. That, of course, is a testament to her for building our photography program. Even Wyatt, who I think of as being a screen printer, has some phenomenal experimental photography.

Do you have any words of overall encouragement, or words of critique, for the students presented here?

Maybe a good sort of word of encouragement, especially for perspective students who walk in here… I know you had an excellent high school experience as far as an art program goes, but many students don’t. So, they already come to college saying, oh, I can’t draw. I can’t do this. I can’t do that. I think, particularly with the faculty here on campus, wherever you are at, they will make you better. So then, some of these students probably had no, or little-to-no, art before they came. Some already arrived thinking, oh, I’m uncomfortable with drawing, or I can’t do x, y and z. Yet, in Drawing I they can do things like Dagne’s castle shading to a t. The students who come out of that, and what they present, are far beyond what they would’ve thought could be possible. Then we have students that come in with a very high foundation of art. Then it’s just fun to see how much they improve year after year. Really just in an exponential type of way.

In three words can you describe your impression and experience from this show specifically?

I would have to say uniformly eclectic, because it all hangs together, and yet, it’s such a broad reach. I think it’s a good sense of just how many different avenues you can pursue in the program, and also do individually tailored expressive experiences. I would say hard work. Inspiration. I think, well, you know how many hours go into the studio!

Full list of students displayed at Edie/Dalrymple Gallery:
Allessandra Abel
Ajla Becirovic
Connor Bergh
Brooke Christenson
Wyatt Dickson
Tate Green
Marissa Hight
Sydney Michael Kelly
Joshua Kingsbury
Emil Knapp
Joshua D. Matzner
Alex Meyer
Mara Morrill
Katie Munson
Dagne Ode
Lynsay Prosser
Olivia Revier
Kylie Rome

Hannah Wendt chatting with Wyatt Dickson at the Edie/Dalrymple Gallery.

The process: Straight from the artists

[BEFOREHAND]

How have the before-the-show steps treated you? What’s your impression of the gallery space process before hand; was this a new experience for you? Did you enjoy it?

Wyatt:
For me, I think that’s always hard just because I know what other people kind of like, but I don’t necessarily know what kind of stuff of my own that other people like. I kind of have a negative view point over my stuff, just because sometimes it’s really weird stuff just for fun. I don’t take it as serious at times, so I don’t think other people will, even if it’s a serious thing. So, if it’s for the review, it was mainly trying to find things that I like, at the same time other people might like , as well. I think that it helped by doing a write up. I had all these different pieces up for the reviews, so the professors could critique my work, and eventually pick pieces for the show. I had to have a write up that stated what I was trying to get at, but in a super concise way, so that it’s clear. Sometimes I’m going, well, I took this picture just because I messed with a bunch of settings on my camera, or I made this screen print for fun, or because people said “you probably shouldn’t do that,” and I’m going to do it anyway. I couldn’t really say that, so I had to have this concise thing where I had everything down pat. I think that’s where it was stressful. I don’t know most the time if what I’m trying to convey is read by the viewer. With a lot of my pieces I like to have really open-ended outcomes, so that they can pick what they think maybe in a different way than me. Only after the fact, if they’re wondering what I’m trying to get at, I’ll tell them then. Other than that, either making weird things, or making them more confusing, or purposefully under confusing so that it’s easier for them to get. Maybe even harder for them to get, if I’m trying to have a conversation, or something that I’m just trying to get out there. I guess it just depends on each piece. With the ones in here, I think it worked a little both ways. My photographs are definitely a series where I was just trying to experiment with different objects. There’s a variety of things that I’ve taken pictures of. For most of them it was try something and go with it, rather than going, this is exactly what I’m going for and making sure everything is perfect. It was more of what Dr. Twa was saying, working with an experiment. That’s something that I like to do with photography, because it’s quick.

When putting my photographs in here, I wanted to try something a little different. So, instead of having vague titles, I made little music pieces for each of them. Some of them are bridges that are connected by a chorus that runs throughout the whole series. I’m definitely not a music writer at all, it was just something when I sat at a piano thought sounded good. I was trying to do something, that if the viewer has knowledge of music, they can pick out the little tunings with them and then decide if the sound would really go along with it. I’ve always wanted to do different sounds and photography, kind of like music and movies. I’m really into movies, so maybe that has something to do with it? I want the viewer to gain something from it. I like to have fun with it.

Katie:
Preparing for the show was pretty straightforward; we just had to matte and mount our work so it was ready to hang in the gallery. We did not hang our own work for this show, so I did not experience that process.
The pieces that are in this show were selected by the faculty during our spring reviews. Though they picked a few of the things that I would have chosen myself, I did have some work in ceramics that was finished after the reviews which I wish had been included in the summer show. There is always next year, though!

Sydney:
Before the show, we create work for the academic school year, and then our work is chosen by our professors in what is known to the Sophomores and Juniors as their review. To me, it is kind of a coming of age rite of passage. With me being a junior and having done a review last year, I am well aware of the space as well as how a review is carried out. Regardless, it is still just as nerve wracking to get up in front of your peers and lay your work on the line. In my review summary, I had written about how with art and being an art major it always feels like I am undressing myself and pulling off my skin, folding it neatly, and handing it to someone, while in a way, asking them to accept and appreciate it. I am literally showing you my vulnerability when I am showing you my art, and telling you about the symbolism behind it. The review was exactly this. Each and every time, no matter the audience, I get a certain nervousness about me when speaking on my work. Mainly because my subject matter is so visceral, but also because there is some part of me that is still afraid to tell the stories of what I have been through, and to tell someone is to let them in, and I am not good about letting anyone in. Review is a good test run though for me being able to talk about my work, and the things that go into it.
We are told to bring pieces of work, usually anywhere from 10-12 (sometimes 15 or so if they are smaller), but beyond that we are given the freedom to choose work that we feel is our best. But then you start staring at your rather large portfolio of about 30 or so works that you have created that year and you begin to question what your best is. Is it the piece that you spent countless hours on that got an A- and yet you still are madly in love with it? Or is it the piece that got you an A and yet you do not really care for it, but you know the professors will like it? You start to wonder if you should cater to your professors or to yourself… and to that, I will say that you should cater to yourself. When your work is chosen to be hung up in that space, you should feel a sense of pride, and that pride only comes with staying true to yourself. I make each of my paintings with a very direct purpose in mind, and therefor when my pieces were chosen, I was very pleased with the result. I also felt honored to be a part of an institution that displays the work of their students so proudly and wants to display mine as well the work of my peers. The process leading up to review is nerve racking, the review is nerve racking, preparing your work to be shown around finals week is nerve wracking, but seeing your work hung up is worth every minute of it.

Work by Katie.
Work by Katie.

[DURING THE FUN]

Do you have a specific goal, or immediate impression, that you want the viewers to think and feel when experiencing your work?

W:
Well, like I was saying, I do have stuff there, when other times it’s just if it happens then it happens. So, if a viewer sees something in a piece, I’m glad for them, but I’m not specifically trying to push them a certain way. With some pieces I’m trying to just get them and see how they look, while experimenting with different techniques and things like that. It wasn’t really a process of, this is really important to me and having to let the world know. I think my work is still important, in a way, but just not like that. With the photograph series, we’re suppose to explore something that we knew. However, going after that, I decided to take photographs of objects around my house. In the full series, I think there’s 35 or 40 pictures. Some are as simple as mason jars of tomato paste that we have from canning stuff. Other things are, like in here. There’s a certain image that started that series. It’s the self image. I was trying to experiment with light, which I really like to do with photography. I was trying to experiment with the light on the shelf, that in reality isn’t that important because it’s just a shelf in my bathroom. To me, there’s an importance behind it that I can’t quite understand, if that makes sense. Similar to, well, I know this, so it feels important. To anyone else, I don’t think they feel that, but to me, there’s a reason that this feels important. So, that’s where this series turned into something that wasn’t really just things around my house, but things that have a specific importance even if it’s just really vague for the viewer. For those, I’m not expecting the viewer to get anything out of them. They might find bits of relations that, in turn, can find comfort in, but I’m not specifically trying to get the viewer to see that. So, like I was saying, if the viewers see something, I’m glad they do. I would honestly like to know what they see, just because I think that’s interesting, but I’m not trying to force them to see something that I may be putting out there.

K:
My two screen prints that are in this show are the works which I am most pleased with and feel represent a certain side of my work effectively. I am largely influenced by nature, namely the sky and cosmos. I hope that my screen prints will convey some degree of a connection with nature. The piece, “Where are you now? I still need you here,” was created shortly after the unexpected death of my mother. That is the first piece in a series that I am working on which deals with the concepts of life, death, the afterlife, and the consideration of a higher power. I don’t like the idea of telling a viewer exactly how to interpret my work, but I use titles as a guide of my intent.

My intaglio print of my dog, “Charlie,” explored texture by focusing on hair. Charlie has crazy, wiry hair which I thought would be fun and challenging to convey in a drypoint print. The position of him resting was my way of conveying how solitude can oftentimes be a necessary means to feeling inner peace.

S:
When you first look at my work, you are either attracted it to it or repulsed by it. Often there is an innate reaction when viewing the grotesque or death. Your throat tightens a little, your chin clenches, maybe you blink frequently or your advert your glare, but in general you have a response. The secondary response when viewing my art should be the curiosity of why the subject matter is chosen, in an attempt to figure out the piece. The third common response is why does a 21 year old woman attending an upscale university in South Dakota originally from a small town in Iowa want to paint such things? To that, I would have to tell you to sit down with me and listen to the full story. But when that is not do-able, the viewer often just notices my attention to detail and the craft of my work. Notice the ants that are either fleeing away or being attracted to the objects around them. Pay close attention to the use of color and what you might be noticing as an American flag, a desecrated pie symbolizing human interaction, or maybe the mourning ceremony that gives you a closer view of tragedy and the influence of fate. My work is used to show my occupancy in this world, and how as a sexual assault victim and an abuse victim, I have often felt left without control. From that, I have pushed my feeling of being small in this vast world and how there are many parts of my life that are left open to the influence of greater powers. Dominant versus submissive, choice versus the lack of, nature versus nurture, authoritarian parent versus authoritative, resilience versus conforming, and conscience or the lack of. These are some of the things that play a role in my life and the pieces that I create, carrying out a plan to tell my story through the visual arts.

Sydney Michael Kelly’s oil paintings

[AFTER IT’S SAID AND DONE]

Personally as an artist, is there anything else that you would want the public to look forward to? Any shows coming up, are you planning any projects, etc.?

W:
I do a lot of stuff on my own, and apart from that, I don’t hear much going around town. Unless it’s from this one girl, Hannah Wendt, that I know, I don’t really hear a lot going on. I’m working on making t-shirts with print making stuff and using screen printing t-shirts, right now. I like wearing t-shirts, and I just wear weird stuff. Why not make my own? I don’t paint a lot, but I’m wanting to get into making my own inks and paints out of random crap. Maybe just smashing up a whole bunch of stuff and seeing what happens. I’m trying to use a bunch of different materials in my work, and do more experimenting because that’s the name of the game with my stuff. Other than that, I guess I need to get out a lot more. For right now, just through Facebook, Wyatt Dickson, would be a way of contacting me. If you wanna say hi, or if you wanna be like, hey, let’s make something. If you want to buy something, sure!

K:
I am drawn to illustration (pun somewhat intended) and showcase my skills in my ceramics work. They are really fun to look at and people seem to get a kick out of them. I am also developing my series of screen prints which is dealing with the concepts of the cycle of life, and the existence of god. I am always dinking around in the printmaking studio and constantly have new stuff I am working on, which I share online. You can find my portfolio, including examples of my ceramic work on Facebook and my website.

S:
I create about one to three paintings a week during the academic year, and I will continue to work at this rate. My work can best be found on social media, as I post my creative journey. I occasionally participate in small shows, but for the most part, I make work for myself and not for show. I have made such grand progress over the 2016/2017 school year and as I go into my final year at Augie, I do not intend on halting my progress. I fully recommend anyone to come to the senior show in May of 2018 if you want to see my grand finale, and hear me speak publicly on my journey. Until then, I sell most of my pieces for cheap so that they are obtainable by many. You could be the next owner of an original piece and you should be. My Instagram is sydneymichaelkelly and it is where most of my work can be seen. My email is smkelly14@ole.augie.edu for any other inquiries.

 

Beware the Locals – Coming soon!

Does Sioux Falls really have interesting things that happen within the city? You bet ya’! Filmmaker Dempsey Tapley has taken on the challenge of capturing these interesting things and people in the form of film–Beware the Locals. As time ticks faster, and as we approach another lovely Sioux Falls summer, I am genuinely excited to see all of the collaborative work come together. ~Hannah Continue reading Beware the Locals – Coming soon!

PIPER FINE ART GALLERY

A little bit off the First Friday beaten path, right on what might be considered the cusp of downtown, sits a real gem. Nestled on the corner of 27th and Minnesota is Piper Custom Framing and Fine Art Gallery.  As a custom frame shop foremost, it’s possible that it might not even be on your radar as a gallery to stop in and visit. Living only a few blocks north, I have driven past the storefront countless times. Each time curiously eyeing it. Done the same? Save yourself prolonged wonderment. Go in.

The gallery is cozy, and full of carefully selected, beautiful art from Midwest artists – print to sculpture and everything in-between. Not only that, the framing selection makes Hobby Lobby’s wall o’ frame look like a cheap floozy, and the staff are incredibly welcoming, experienced and wonderful to talk to. They welcome local artists with open arms, and are always willing to sit down and have a chat with them.

You can feel that this is a place where quality, and the individual customer experience is the top priority. They care immensely about what they do, and that passion shows the minute you walk in the door. Reaffirming, once again, that there is really nothing better than small business, and really nothing better than buying local art.

Continue reading PIPER FINE ART GALLERY

Let’s Celebrate Jordan Thornton’s Artist Residency

Landing an artist residency is a big deal. So when an artist does, it’s cause for celebration.

One of JAM’s favorite artists, Jordan Thornton, has “nailed” down her first artist residency!

It happens to be in Vermont, and there happen to be fees and costs that come along with that, so the Sioux Falls community has the awesome chance to help Jordan in her journey.

But before I get to that, here’s a little more information about Jordan.

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She’s a printmaker with a deeply-rooted love of nature, which you can easily see in her work. Handpulled and hand-printed woodcut prints, often displayed in shadowboxes (that she usually makes herself) are her forte.

Jordan describes her current work as having a focus “on plant imagery, primarily the roots. The visual part of these pieces is of the physical plant, while the thought behind the work focuses on our own roots: what holds us to a place, a person, a pursuit.”

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If that’s not enough info about her craft, check out our Inspired Interview of Jordan.

She’s been honing her craft for years. And she’s also been applying for residencies for years. And then the Vermont Studio Center in Johnson, VT offered her an artist-in-residence spot for the upcoming month of August.

Here’s the catch: getting to Vermont isn’t free.

So that’s where you come in.

Jordan’s got a Kickstarter campaign that’ll cover the remainder of her residency fee and travel costs. But, most importantly, this campaign puts her art into the hands of the people investing in it.

To kick off the campaign, Coffea Downtown is hosting a launch party which doubles as the artist reception for Jordan’s three month show at Coffea. The party’s going down on May 6th from 6-8pm.

If you can’t be there to high five her and join the fun in person, you can still join the fun online:

The Sweet Art Show: A Look Back, Forward

Everyday JAM receives donated, lightly used art supplies that they are able to turn around and get into the hands of artists and crafters at an affordable price. That is just one stroke of the paintbrush. JAM Art and Supplies fosters community. Whether it is through their classes and workshops or their website’s First Friday Reviews and Inspiring Interviews, they are a palette of resources for the Sioux Falls art scene. To support that work, JAM hosts an annual fundraiser – the Sweet Art Show, two days before Valentine’s Day. If you heart art, you will not want to miss it.

Sweet_art_show_collage
Last year’s show at MoVM.

Last year, with attendance exceeding 250 people, the first Sweet Art Show raised more than $10,000. Thanks to those generous sponsorships and donations, JAM was able to further their mission in 2015. They offered classes and workshops to Sioux Falls artists and children – ranging from free art clubs for middle school and high schoolers, business coaching classes for artists, private lessons, as well as toddler yoga and sing-alongs. They also held their first creative reuse summer camp last August. Kids 8 to 13 learned what creative reuse was, and were also introduced to art installation. As a group, they developed a concept and turned Exposure Gallery into a “candy thunderstorm.”

Last year’s event was held at the Museum of Visual Materials, and featured the work of 16 local artists. Other sweet attractions included a gourmet ice cream social with toppings (created by Chef Lance Catering), a cash bar, silent auction, a create your own Valentine station, and a surprise performance by the Washington High School drumline.

This year, the Sweet Art Show will be at the Icon Event Hall + Lounge on February 12. From 5:30 to 8:30, it will once again showcase the work of local artists from the ‘Inspiring Interviews’ series, with the art available for purchase. Featured artists this year: Lance JeschkeTrish MayerKevin CarawayZach DeBoerJeff BallardShaine SchroederReina Okawa, Sharon Wagner Larsen, Em Nguyen, and Mary Groth.

The night will also include the gourmet ice cream bar and other tasty treats, a presentation of an artist advocacy award, live music by Elisabeth Hunstad, raffle prizes…plus a huge surprise that will give you a taste of just how sweet JAM really is.

Looking forward, along with acquiring space for a classroom and providing scholarships for private drawing lessons, JAM looks to send staff to a Monart Method drawing seminar and a Visual Thinking Strategies workshop – both art-based teaching methods that increase core learning skills, comprehension, and problem-solving skills. Funds will also help sustain and improve JAM’s website, increase creative reuse summer camps to 4, and provide more class and workshop opportunities to Sioux Falls artists and children in 2016.

New year, new goals, one strong mission: get art supplies in the hands of local artists. Get involved, yo!

Exclusive sponsorship opportunities are available for you or your business! Become an art advocate, and support a nonprofit that is making waves in the Sioux Falls community. For more information on sponsoring JAM and the Sweet Art Show, please ask to see the 2016 Sponsorship Commitment Form or contact Jess. Share with your business-owning friends too.

Other great ways to get behind the mission? JAM takes merchandise donations year-round, and is always looking for volunteers.

Check out more of last year’s event below. We will see your face on February 12!

 

Tana_JAM-Profile-Signature DanT_JAM-Profile-Signature

 

Chad Nelson: Art Educator

Chad Nelson’s roots in art and craft are well grounded. His father is an accomplished woodworker and studied art in college. His mother works needle point, quilting, and sewing. Nelson, himself, is an art teacher at Brandon Valley High School, and is also a skilled printmaker. However, printmaking was secondary, Nelson wanted to be a teacher. It is a passion he attributes to the strong role models he has had in his life – from his mom and dad, to his high school art teacher, to college professors.

“Not only did they teach me how to be an artist, they taught me how to be a person, too,” said Nelson. “They were all very caring, and usually went beyond their roles of just a teacher, [et cetera]. It very much affected me, and I wanted to do that for other people, too.”

Continue reading Chad Nelson: Art Educator

How to Sell Your Work: Client Dealings and Contracts

Last week we talked about rejection. But let’s step back into the light and assume you’ve nailed it. That potential client is ready to be a client. Can I say, “booyah?” No. Stop celebrating for a moment. This is the most dangerous point of working with a client, in my opinion. Before you can move forward, you must a establish a contract with the client. Here’s a secret: all four of us have made the mistake of not using a contract before. “Contract” can be a spooky word. It’s binding. But it’s protection for both you and the client. So take some time to put together a comprehensive contract that conveys all the agreements that were made in negotiating the project.

Once you’ve both signed and agreed to the contract you can get to work. Sometimes re-negotiations happen. But that’s an article for another time. Just remember, moving from potential client to official client can happen in mere minutes and you need to stay on your game, and conduct yourself professionally.

You can see more of Bentley's work here. Pictured above is his piece, "Mad Catter".
You can see more of Bentley’s work here. Pictured above is his piece, “Mad Catter”.

If you’re thinking you’re ready to start selling your work then you are a professional. Something Travis and I concluded was, “you may not have mastered your field yet, but if you’re selling, you are a professional. Never be afraid to acknowledge that about yourself.” Conducting yourself professionally will ensure better work and happier clients. There are bad clients, rejections, and dry spells, but you should always strive to be a good service/product provider. In doing so, you’ll see fewer things fall apart, with more things coming together.

Travis Bentley
Travis Bentley

Pro Tip: I can’t stress the importance of contracts enough. It’s a professional relationship you’re building and you want to protect that as much as possible. If you want to see an example of negotiating a contract, watch this Strip Search Episode. (May not be suitable for all audiences)

Get yourself comfortable with communicating with your audience.

I’ll get more into what needs to be in your contracts next week, in our final article, “Contracts and Closing Words”.

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How to Sell Your Work: Rejection. Or, the Journey of Landing a Client.

So, you’ve been honing your craft for at least a week. That’s great! But, before we get into successfully landing a client, let’s go down the dark road of rejection. Sometimes potential client expectations don’t match up with their budget and what you can offer. Don’t undercut yourself. If you have an hourly rate, stick to it. They’re good to have as a base to build from. If you know your rate can’t go lower, if you can’t rework the scope of the project, respectfully walk away. As Travis puts it, “if a client approaches you for something you can’t do, or are not comfortable doing, refer someone else. It builds community and a relationship with the potential client. Never turn away a chance to make a connection.” Be honest and forward with a potential client at all times. It’s better to turn them away than upset or disappoint them.

Pro Tip: Jeffrey mentioned, “they don’t see the years of struggles, tears, breakdowns and rejections.” It can be hard, but remember that you have a different perspective on your work and educating clearly is very important. And keep this in mind, too: “The phrases ‘Never make compromises’ and ‘the client is never wrong’ are both wrong. Find a balance. Clients are not money cows,” reminds Galacia Barton.

Galacia Barton
Galacia Barton

So the hunt is over, you have a client on the hook and it’s time to start working. Like us, you’re probably so hungry for work it feels like you’re starving. And that can lead you to making any number of mistakes.

If you’re ready to sell any of your work, you should have at least a strong idea of what you’re worth. Never undercut yourself. Before even considering numbers, get a grasp on the scope and expectation of the project. It won’t be uncommon for clients to be working on fixed budgets, so understanding their intentions will allow you to negotiate the cost effectively.

It’s not crucial to have the client lay down the first number, but it doesn’t hurt. And it can be easier to “tailor your skills to fit their range,” as Galacia says. Don’t be afraid to offer an augmented, or simplified service to accommodate what the budget is.

"Bravery", by Galacia Barton.
“Bravery”, by Galacia Barton. To see more of Barton’s work, check out her site here.

Tailoring isn’t always the resolve though. Unfortunately, powerful tools like the internet can hinder professional work with services that allow people to sell their skills for unimaginably low rates. This is where your knowledge of your work will put you in the role of an educator. Especially in the realm of digital artwork, clients can sometimes be blind to “the decisions and research that goes into great design,” says Travis Bentley. No matter what you’re doing digitally, teach your potential clients about your processes to show them exactly what they’re paying for.

All of this will help you build positive relationships with your client, and help you refine your audience. Your audience won’t always be idly viewing your work, think of them all as potential clients. In understanding your audience you’ll be ready for next week’s topic of client interaction.

Pro Tip: My animation client somehow got my contact information. I failed to inquire from whom. Always find out how someone found you. Know your audience.

Next in this article series is “Client Dealings and Contracts”. Stay tuned!

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First Friday Review: September 4th, 2015

This past First Friday held an abundant offering of exhibits, and judging by the packed streets of downtown, you could tell that everyone was trying to enjoy the last fleeting days of summer. Art receptions for the evening included:

Frislie’s First Friday Art in the Alleyway, “Art of Colloquialism” at Eastbank Gallery, “No Deck Pics” at Vishnu Bunny Tattoo’s Third Eye Gallery, “The Annual Recovery Art Show” led by Tallgrass Recovery at Exposure Gallery and Studios, “The Annual Portfolio Show” at Rehfeld’s, as well as DTSF’s Chalk the Walk and the Downtown Block Party on the Eastbank. Whew. Continue reading First Friday Review: September 4th, 2015

KEVIN CARAWAY: AN INSPIRING INTERVIEW

lance-3I’ve always envied quiet people. The type of people that absorb rather than spew, the seemingly solemn ingestion of everything around them. There is a thoughtfulness that surrounds the eyes, a focused energy that scoops in every detail provided. Don’t get me wrong, quiet people are not emotionless zombies–quite the contrary. They display a marriage of curiosity and wisdom, the silence attached to thought. 

Kevin Caraway is this special kind of quiet. He embodies the stillness that comes with observation and continuous thought. He has a soft articulation with his words, and speaks in such a way that you find yourself leaning closer, wanting to catch every word. We sat down with Kevin and discussed where he draws his technique from, the artists that inspire him, and how Sioux Falls could continue to grow. Take this time to reflect on how you approach your own learning, and the impression you leave behind. ~Amy

Continue reading KEVIN CARAWAY: AN INSPIRING INTERVIEW