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    Arts

    The Messy Studio with Rebecca Crowell

    Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend!

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    Latest Episodes:
    Episode 60: Saying Yes And No Feb 23, 2019
    Show notes

    A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your
    calendar clear enough to stay focused and do your best work?

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast

    PODCAST notes:
    Saying YES: how to decide
    Follow up to Pacing Podcast—

    Intro: A lot of us are inclined to say yes to any art opportunity—always looking to
    advance our art careers and open up new pathways. But how can you keep your
    calendar clear enough to stay focused and do your best work?

    Talked in previous PC about pacing and our inclination to say yes ; overload from
    an abundance of opportunity’/ meeting your personal needs for time and energy

    What can you say no to and not hurt your good trajectory? What is smart to say
    yes to??

    Best Attitude: A lot of this is guess work…do your best to research, understand --
    but know we all make poor decisions at some point as well as good ones.

    Don’t beat yourself up for bad ones—this is all unknown territory as we go
    forward. Artists encounter a lot more of these kinds of decisions than many
    people.

    Many so-called opportunities are presented as sales pitches. A good sales
    pitch that you say yes to is aimed at something you actually want and is not
    inflated or dishonest

    Considerations that might lead to a NO:

    Not meant to be overly negative, just to help you make decisions.
    Is it legitimate?

    Previous PC about scams and schemes/has been discussed; avoid pay
    to play situations unless co-op, art fair

    Is it mainly Exposure: so often the carrot dangled in one form or another.

    Does the opportunity actually allow your work to stand out in some way?

    There are a lot of publications, vanity galleries, solicitations to show at art
    fairs etc. Will you just be lost in the crowd? Or is there something unique/better
    about this particular situation?

    Offering “exposure” alone is generally a red flag that you will not be
    compensated in any real way

    Putting up work in restaurants/banks etc.

    Be realistic, do your research.

    Donating time /art work: often uses exposure as hook. Only participate if
    you actually want to support the cause or there is tangible benefit to yourself.

    Are there other aspects of an offer that sound good that may not add up to
    much?

    Don’t be swayed by things like a New York location unless it is a recognized
    and legitimate gallery.

    A line on a resume is only that; meaningless if there isn;’t substance behind
    it that you can really use in publicity, self-promotion

    Overly time consuming: Very important yet hard to judge ahead of time if
    it is something new. Like house repairs—figure it will take at least twice as much
    time as you expect.

    If you suspect it will take too much time it probably will.
    Be wary of people trying to convince you it will be simple or easy.

    You have a Crowded schedule: related to the above

    Financial considerations: legit opportunities may still involve $ outlay—such
    as juried shows ---shipping, framing fees. Weigh possibilities of return on your
    investment (sales) or possibility of other gain. Will this take you anywhere?

    Example: Participating in group show at gallery—may lead to
    representation there, or sales. Juried show less likely.

    Quality of opportunity: is it respectful of your work and your experience?

    Will it add to or detract from your professional image?

    If you encounter really poor behavior once you agree, feel OK about
    withdrawing even if it means accepting some loss; cut your losses--

    BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your
    focus on what you want for your art career.

    For ex: if trying to get into a commercial gallery, building your resume for a
    while with juried shows in art centers etc. is good. But you don’t need to keep
    entering juried shows for years.

    Recognize when a stage of your career has served its purpose but is over.
    (juried shows, teaching workshops in venues that underpay, showing in
    community spaces in which you have to do all the work of publicity, reception
    etc.)

    Avoid stepping down—A gallery contacts you with interest; look at their
    website and have doubts about the quality f work they handle.

    This becomes a pretty gut response over time

    Say YES when:

    You have the opportunity to do something with a legitimate, respected
    venue

    You can identify clear benefits that you can be pretty sure of happening

    You have checked out the situation with an objective mindset (online,
    talking to other artists, evaluating your own experiences)

    You understand and accept any risks involved

    The opportunity suits your overall goals

    It fits your schedule

    Your intuition says yes—that does play a role but balance it with these
    other considerations

    Wrap up:
    Again, be realistic about the outcomes that are likely, do your research, avoid
    being overly swayed by sales pitches—there are lots of great opportunities but
    sadly plenty that are aimed at taking your time and money.


    Episode 59: Merging Art and Life Feb 16, 2019
    Show notes

    What activities, passions, or interests do you pursue outside your studio (art related or otherwise)? Do you think they feed your main work or focus? Rebecca and Ross discuss answers submitted on Facebook, as well as their own thoughts on the subject.

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast

    PODCAST notes: merging art and life

    Ross Intro: A while back Rebecca posed this question on Facebook,
    what activities, passions, or interests do you pursue outside your studio (art
    related or otherwise)? Do you think they feed your main work or focus?
    The answers poured in and today we’re going to take a look at some of
    them--

    Why I asked this question:

    Wanted to say something about the wholeness of our lives as artists; artist is such
    a large identity/passion that many of us think only in those terms.

    But there will always be crossover influences if our art is about who we are

    Also we need to get out of our heads sometimes.

    Was going to talk about this from my own perspective but too limited.

    Curious about people beyond the usual painting postings on Facebook.

    What else are they passionate about?

    Huge range of answers… volunteering with various causes …making collections
    (fountain pens, found objects, old books) …studying the design of Ferraris…raising
    bonsais… …storytelling…environmental causes such as radiation protection,
    sustainability, working with the homeless…… physical activities including tennis,
    horseback riding , weightlifting, sailing, mountain biking, rock climbing, croquet,
    ;pickleball, fencing, various kinds of dance

    Influence from professions—psychotherapy, interior design, costuming for stage
    and film,

    Also mentioned: synesthesia, the connection in the mind between one sensory
    experience and another/ automatic and totally convincing ( a certain musical note
    = a certain color. )

    Ross points out that synesthesia can occur naturally, but an also be chemically
    induced or a product of stress, experiences which have influenced artists.

    Not a voluntary interest but one with implications for art making/ part of the
    bigger picture of who we are and how it affects our work.

    Also some commonalities in the answers, lots of repeats which I will get to in a
    minute.

    Some people addressed the 2 nd part of my question and some did not—the
    connection between these activities and your art.

    I assume that other things in life feed people’s work—how much of his happens in
    a conscious way?

    Could it be helpful to make more direct connections/

    Part of making your art personal and unique is mining these passions for ideas

    Thinking about personal voice and direction here.

    Finding direction and voice is a quest for many people esp starting out
    experienced artists might ask themselves, what can I bring into my work
    that moves me from the rest of life? New direction and ideas always important.

    Connections may be direct or indirect.

    Examples of direct connections—from responses

    Being in nature: close observation of surroundings, noticing light, detail, feeling a
    spiritual connection/content.

    Physical activity: (weightlifting) relates to being fit for large paintings and maybe
    on a subtler level the physicality of moving paint around ….rock climbing—the
    practice of in-the-moment intuitive decision making, being totally present.

    Writing: using words to expand creative ideas.

    Travel—exposure to different cultures and visual experiences used in art work.

    Music—influences from rhythm and mood, improvisational music and jazz as
    related to intuitive painting, collaboration in playing with others.

    Gardening and clay work.

    Looking at art in museums, researching materials, taking workshops-- obvious
    connections.

    If you don’t think there is a connection--Ask yourself what intrigues, you about
    one of your interests and it may lead directly to some new art idea.

    Ex: figure drawing group —challenge of rendering form light/shadow, use of
    brush.

    Ex: collecting stuff—besides enjoying the objects you collect, is there something
    about the act of collecting /organizing/arranging that could enter your work?

    Ex: birdwatching—movement, patterns, color, delicacy/strength.

    Ex: gardening—the cycle of planting, growing, maturing, dying back.

    Could your work be enhanced by being open to your interests as a whole?

    No need to push, simply set it as an intention.

    Summary of the brief and unscientific survey:

    Most Often mentioned:
    being in nature, hiking in nature
    Yoga, meditation’
    Photography
    Some kind of music connection—participating or listening
    Physical activity, exercise, sports
    Volunteering
    Reading
    Writing
    Travel

    Some help to slow down, get centered/grounded, connect with inner self, connect
    with nature have a meditative aspect – feeding the inner self, being present.

    Some are stimulating, energizing—being active, playing music, working with
    people, travel.

    Some directly related to art in obvious ways –photography, drawing,
    experimenting with materials.

    Many people mentioned a range, aspects of all of the above –

    My takeaway -- our lives are made up of many parts, and art has the potential to
    be the expression of the whole not any one thing but that general feeling of
    possibility and curiosity, some combination of what we make for ourselves and
    what life has served up.


    Episode 58: Pacing Yourself Feb 09, 2019
    Show notes

    Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves.

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast

    PODCAST—Pacing yourself

    In the big picture and more specifically…
    Managing your art life can be overwhelming.
    How to avoid burnout?

    Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands,
    negativity

    PACING In the big picture—the need to maintain creative energy—what do you
    need to nurture that?

    Many of us work constantly—the pitfall of self-employment.
    Some of it is what we love ….but a lot of it is tedious stuff.

    So many things we have to do and be good at when we are both creating and
    marketing our work---a huge job

    The issue of cutting back—when does that time come? How does it impact you or
    what do you fear about it? Pros and cons ==

    Pros: ease of stress and pushing yourself
    Possible health benefits as a result
    Focus/concentration not as dispersed

    Cons/fears: Financial strain
    Loss of momentum
    Isolation from other artists
    “Not doing enough”—work ethic

    My mom used to say accusingly, you do SO MUCH
    Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask
    ourselves what we really feel about the big picture.

    Aspects of being creative people that encourage us to always do more:
    take on challenges, push our limits, say yes to opportunities,
    want to communicate, get our ideas out there, teach, write, mentor.
    Outside validation/success

    How can you pace overall?

    Set boundaries: answer emails for a set amount of time; schedule studio
    hours, take a day off a week from business. Not easy!!
    Julia Cameron’s artist dates? Once a week something fun to replenish what
    she calls your inner well--play

    Exercise—esp. Anything that takes you outside in nature
    Maybe taking an extended breaks–a true vacation
    Being aware of your own burned out feelings—this can be tricky—they can
    be camouflaged as depression, even feeling sick (stress can do this to you)

    Recognizing perfectionism, pushing yourself when it isn’t really
    necessary…can someone wait for that email, is what they are asking you to do
    actually unreasonable?

    Adopt the attitude of “I get to…” rather than “I have to…”

    Recognize your own role in whatever overload you find yourself in, lern
    from it, be grateful for an abundance of opportunity—

    Can you schedule things better?
    hard to match a calendar with what it actually represents—scheduling things too
    close together. Looks doable on the calendar, but how does it actually feel in
    reality, never hurts to add an extra day

    PACING for specific projects, deadlines etc./dealing with overload anxiety
    Use lists, calendars, gather appropriate information so things don’t
    blindside you

    Evaluate where you’re at day to day—are there days you can take a break?
    Do it!

    Give yourself time to take a walk, read, watch a movie, see friends, do
    something for yourself every day

    Prioritize, break things down, try to see your progress every day

    Delegate, get help

    Ask for more time only if you really need it

    To stay emotionally strong during times of overload:
    Look at your own history—don’t you always come through in the end?
    Then stop worrying that this is the time you will fail to get everything done

    Recognize that you can have extra stamina when needed and it won’t kill
    you

    Remember your end goals


    Episode 57: Preparing For An Exhibit Feb 02, 2019
    Show notes

    Rebecca is preparing for an upcoming exhibit in Atlanta, Georgia. She talks with Ross about her process and shares tips for artists preparing for a first show.

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast

    Podcast notes—exhibit prep

    Focus for the podcast on a show where you have 8+ pieces; a small group,
    two person, or solo show

    Getting a show:
    Are you ready??
    Request from your gallery if not asked
    Proposal to non-commercial space = find out requirements, write
    proposal/statement
    Consider how much time you need to produce the work

    Exhibit categories:
    Group show with colleagues at non-commercial space
    Group/2 person at a gallery --they will probably choose who you show with
    More and more common to NOT have solo shows
    Be open minded about who they pair you with

    STEPS to a show:
    How much lead up time are you given, varies from over a year to a few months
    Maybe a theme or just a selection of your work

    Early on:
    Find out the expectations for the size and number of pieces; this is usually
    flexible; if you want to include something you are already working on
    Ask for a timetable of when the gallery will want certain things: these include list
    of pieces, prices, artist statement, publicity photos (work and you) put these into
    your own calendar
    Ask if you have any $ obligations for the reception/costs/announcements
    Will there be an artist talk
    Date of opening reception--Think about whether/if you can attend. Lay some
    groundwork for travel, clear the dates, etc.
    Publicity: Usually they will want some advance publicity materials even if you are
    still working on the paintings—send image you think will be included (anecdote)
    Always good to have some bio pics on hand/you in studio etc.
    Send Updated resume and bio—check to see if they are using something out of
    date; sometimes they don’t ask just take from the web

    Closer to the show, or according to the timeline:
    Self-promotion on social media; don’t rely on the venue to do it all
    Artist statement specific to the work; is there a theme, something that ties it
    together? Listen to our podcast on the topic,
    Choose the work or the venue to do that—if you do it, you want cohesive but
    with some variety; try not to include anything you don’t consider as good as the
    rest just for the numbers.
    Price list—consistent with prices elsewhere and within the list itself
    Double check for accuracy
    Mention to gallery if you are raising prices from what is in their current
    inventory
    Most galleries can adjust numbers/sizes to what you want to send, don’t be afraid
    to ask

    Prep the work:
    Framing works on paper/unless frame is part of the overall aesthetic, keep it
    simple/neutral
    Preparing panels and stretched canvas—framing not usually necessary for
    anything but small work; small work maybe/maybe not, consult with gallery
    Wood panels—sand and clean up, wood treatment up to you
    Canvas—touch up stains and splatters, somewhat optional depending on
    the aesthetic of the work, clean vs. expressionistic, opinions of gallery
    Wire the back, use good wire and d-rings, no clip type hangers or cup hooks
    Sign work somewhere, back/front options
    Title
    Copyright symbol and date/optional
    Wrap for transport of shipping/nonstick paper or foam over the front; encase in
    bubble wrap ---allow plenty of time
    Can just use blankets if transporting in car but best to wrap in plastic at least.
    Consider how you would deal with the work if your car broke down or was in an
    accident. Will you need to bring it into a hotel overnight if travelling in extreme
    heat or cold?
    Decide what to wear to the opening!

    At the reception: do your best to be friendly, chatty
    Be on time
    Look nice
    Don’t be discouraged by lack of sales at opening
    Ask gallery person to introduce you to people/ they don’t always think of this
    It’s tempting due to social anxiety, but do not just ang out with your friends or
    drink too much
    Do not pass out your own business card

    After the show is underway:
    Check in with the gallery once in a while but don’t bug them; sales take time
    Continue some self-promotion


    Episode 56: Increase Your Income with Creative Problem Solving Jan 26, 2019
    Show notes

    Rebecca and Ross apply the Creative Problem Solving process to finding possibilities for increasing your art income.

    Follow along the CPS steps at http://www.innovationmanagement.se/imtool-articles/the-basics-of-creative-problem-solving-cps/

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast


    Episode 55: Writing Artist Statements Jan 20, 2019
    Show notes

    Rebecca and Ross discuss how to write a good artist statement and why they are important.

    art statement generator: https://www.artybollocks.com/generator.html
    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast


    Episode 54: Writing About Art Jan 12, 2019
    Show notes

    Every artist is expected to write about their work--including emails, artist statements, and proposals. Rebecca and Ross share some tips to improve your writing and also thoughts about more personal writing to enhance your creative process or as an art blog.

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast


    Episode 53: Selecting A Workshop Jan 05, 2019
    Show notes

    Rebecca and Ross discuss choosing a workshop and how to get the most out of the workshop experience.

    www.squeegeepress.com
    www.rebeccacrowell.com
    www.facebook.com/messystudiopodcast


    Episode 52: Celebrating Our First Year Dec 22, 2018
    Show notes

    Rebecca and Ross review their first year of producing the Messy Studio Podcast and extend thanks to their listeners. It's been fun and successful! They discuss past guests and topics, and their goals and plans for the future.

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast


    Episode 51: Dealing With Older Work Dec 15, 2018
    Show notes

    Rebecca and Ross discuss how to deal with older work, slides, and current technologies for storing and organizing images of older work.

    www.rebeccacrowell.com
    www.squeegeepress.com
    www.facebook.com/messystudiopodcast


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