1. Art Competitions 2010

Where they are, why you should enter and what you need to know!

2. Becoming self-employed

How to do it, legal requirements, keeping it simple & making art
your career!

3. Artists Site Of The Month

Whose it is and why we like it!

4. Maximise Your Website

For top tips on getting the most out of your website, read this!

Put your feet up, lay down the paintbrush, make a cuppa and have a good read.

1. ART COMPETITIONS 2010

Art competitions are everywhere. There are so many going on at any
one time that it’s relatively difficult to keep track of all those
that are coming up. Entering an art contest, whether it’s being hosted
by a council, a gallery or a website online can prove to be a daunting
prospect to an artist who’s perhaps never entered anything of the sort
before. Yet it can provide invaluable experience, exposure and who
knows – you might just win something!

**To pay or not to pay?**

Many juried art competitions charge an entrance fee for artists to
submit their work and enter. This can prove to be a very real problem
for financially-struggling artists and can also prove to be the
nail-in-the-contest-coffin for those who were jittery enough about
entering in the first instance. So why do the organisers charge such
fees? After all, hopeful authors are not charged by potential
publishers to submit their fledgling manuscripts. Organisers argue
that it is costly for them to exhibit submitted work and for the panel
to jury the event. But surely this cost shouldn’t be saddled onto the
artists they are encouring to enter? Unfortunately it is a topic which
divides artists and organisers alike; some artists flatly refuse to
enter contests charging a fee whilst others think the exposure and
opportunity is worth it – and some organisers as a rule never charge
fees whilst others defend their decision to do so. It is ulitimately
up to the individual as to whether they go ahead or not. If you feel
that the competition is just too good a chance to miss but you’re
still struggling with the entrance fee, you can always voice your
concerns direct to the organiser. If enough artists feel the same way
and speak out, it may well bring about a change in future rules! It is
wise, however, to find out the following when considering to part with
your cash for the chance to enter such a contest:

*  Is the prize fund substantially adequate in comparison to the
entrance fee? If you are being charged £30 to enter yet the prize is
only around £100, would you feel it worth your time and effort?
*  Is the competition big enough to warrant a charge? Small-scale
contests shouldn’t charge for entries or at worst should charge only a
nominal fee; otherwise entrants could feel they may end up profiting
the organisers!
*  Who is on the jury? If an influential figure in the art world is
judging the work, or even someone you have always greatly admired or
been influenced by, you may feel that the opportunity to expose your
work to them may be well worth an entrance fee!
*  Can you afford it? You may want to check the requirements of any
other contests you are hoping to enter, otherwise they could soon
mount up.

**You’ve decided – you’re going for it!**

Once you’ve decided to enter, you need to check the entry
requirements with a fine toothcomb. Make sure you’re very clear on the
format required, theme, file size if submitting your work online or
electronically, that the competition extends to you geographically,
that you can make the deadline without reducing yourself to a
whimpering heap and that you feel it is a good opportunity for you.
Try to focus on the positive aspects; namely the exposure your art
will get, being able to guage the standards out there and any areas
you may need to work on in the future if you’re not selected which
will only benefit you as an artist, the confidence boost it may
(and hopefully will!) give you – and the chance that you
might just win. Getting your art and creativity seen is what most
artists strive towards and taking risks is part and parcel of the
journey. Art competitions can provide you with a valuable platform and
the more you enter – the more your name and your work will become
recognised.

If the voting is being done by the public, don’t be put off by
questions that might arise in your head regarding the artistic
knowledge of people who may vote….you never know who is looking at
your work in these instances and reaching out to as vast an audience
as possible is important. And if it is a public vote – tell everyone
you know!

**Where do I find out about art competitions?**

The internet is the obvious source for this, although don’t neglect
your local community. Check out venues in your area which host art
courses, the local library, word-of-mouth amongst your artist friends
and the local paper. Online, there are various sites which advertise
art contests (some of which we’ve provided links to below). Check in
on these regularly as art competitions are running pretty much all
year round. The more you network, the more opportunities you will find
out about.

http://www.theartlist.com/
- this is a great resource with frequently updated details and
international opportunities.
http://www.britisharts.co.uk/competitions.html
- does what it says on the tin! UK comps divided by season.
http://www.asingularcreation.com/
- a good resource for contests, competitions and calls for art.
http://www.kinderart.com/contests/
- art and writing contests for children (plus their parents and
teachers!)
http://emptyeasel.com/misc/art-contests/
- lists some important art competitions
http://artdeadline.com/
- more opportunities! You can either browse some free listings or
pay a membership to have results posted to your email to cut down on
your search time.

Select your favourite works and go for it…..you’ve nothing to lose!  Good luck!

2. BECOMING SELF-EMPLOYED

If you dream of selling enough of your art to be able to leave the rat-race behind for a life of indulging in and reaping the benefits of your passion, you’re not alone! Many artists have a day-job to keep afloat and fit their art around what little time they have left. It can be a very daunting propspect to leave your job behind and concentrate solely on your art as your main source of income. You may worry that you won’t sell enough art, your income will be too erratic and that you’ll get into financial difficulties. Yet the fact that you’ll be able to focus ALL your working time on doing the thing that you love can make a huge difference. You’ll have time to market yourself, exhibit more regularly, get your website looking its best and of course concentrate on your art.
Once you’ve decided to go for it, whether it’s part-time or full-time, you’ll need to register yourself as self-employed. This is crucial and a legal requirement – you can’t sell art if you don’t do this! – so don’t start trading without having completed the process first! Before you register, you need to make sure that you have the skills to manage yourself and the commitment. It can be very rewarding to be your own boss but it certainly isn’t without it’s challenges! Here are some things to consider before taking that step:

Is this what you want to do?
You don’t have to be 100% sure but if you’re 50/50 you may need to recondsider: the first year can be challenging financially and personally and it really helps if your heart and mind are totally committed. Setting up on your own can put a strain on your personal relationships. You’ll be working long hours and juggling so many balls at once you may feel you’re about to drop the lot at any given moment! You’ll need the support of family, friends and your partner if you have one. If you have children, you’ll need to make adjustments to your time with them – do you have babysitters you can fall back on? Are you going to have to collect your children from school every day if nobody else can? If so, can you get enough work done during the week to earn sufficient money to keep afloat? If you’re worried, make plans before you begin.

Do you have children?
Tell your friends/family/partner what you intend to do and keep them informed as you go along so they can support you. Try to work out early on a plan for childcare if it’s applicable to your situation. Are there after-school clubs your children could join to allow you to work a bit longer? Is your partner able to and happy to make adjustments to their hours to take on some of the jobs you may have done up till now? Can you afford to pay for extra childcare if it’s needed? If you aim to enlist your family’s help, make sure that you communicate clearly how long you’ll most likely need their help and agree to re-assess after a period of time if you need their help for longer than you intended; that way everybody will be clear on their role and nobody will feel awkward that it’s getting a bit much but they’re not wanting to say. As you settle into your new working life, you’ll most likely find that things settle down into a routine and these issues resolove themselves with welcome solutions – be as flexible as you can as you go along and above all, don’t feel guilty if you find your time with your children is cut much shorter than you’re used to! Setting up is difficult but the pay-offs can be huge in terms of finance, personal satisfaction and work/life balance once you’ve got things under your belt.

Can you handle working alone?
If you’ve worked in an office or similar environment up till now, working for yourself may come as a bit of a shock! You may be lucky enough to find workspace in a shared studio but if that’s not a possibility, you need to be prepared for loving your own company for a while. Setting definite work times for yourself can be a help; that way, if you’re feeling the need to communicate with other people, you know that once a certain hour arrives and your work is done, you can reward yourself with a cuppa and a chat with a friend! Getting out and exhibiting can break the monotony of studio work and be a great social opportunity – not discounting a great networking opportunity. Or you may find that you can fit in time to join an artist’s group; just because this won’t generate income in itself doesn’t mean that it won’t benefit you in your working life. Keeping in the loop with other artists can lead to great opportunities to network, such as private viewings, gallery openings and exhibition invitations.

Are you ready to lose your perks & gain an overdraft?
Being self-employed gives you freedom with working your own hours and without a boss breathing down your neck – but it also takes away paid holiday, pension schemes, bonuses, work parties, pay rises and promotions! You may find yourself devoid of a holiday for the first year or two if you don’t have enough in the bank to pay for it so be prepared for this. However, it doesn’t mean you can’t take a break! It’s crucial that you take some time out for yourself the first year as you’ll certainly need it. Even if you can’t afford a big holiday, look at visiting friends in the UK or even just staying at home, taking the work phone off the hook and indulging in doing nothing! If you budget efficiently you may find getting you-time is easier than you thought.
Speaking of the bank – do you have savings you can fall back on during the first year? Setting up in business is notoriously stressful financially as you establish your position in your new work environment. You may need to look at a business loan or overdraft to carry you through – and if you do this you need to make sure you can afford the monthly repayments. It’s a good idea to look around at various schemes banks run to help small businesses setting up. They often offer low-interest overdrafts and loan arrangements tailored to meet the needs of those starting up. Having an overdraft if you’ve not needed one before can feel like a negative progression, but always bear in mind that this is a means to an end and once you’re profiting from your business, you can start to repay loans/overdraft payments and then start to reap the benefits of your profits! Having a loan if you need one will enable you to invest in areas of your work that will help you look and feel professional and confident. It’s better to invest in areas that you feel will guarantee a return rather than struggle financially with constant worry that you’re not looking or presenting your art to the standart that you feel comfortable with.

Personal skills that can smooth out the bumps!
Working for yourself can reveal personal skills that you never realised you posessed. If you’ve been used to working in a team environment, whether in the workplace or at art college or university, you may find the transition to working for yourself a strange one.  The following qualities can help you on your way to presenting your art confidently, enthusiastically and in a way that draws potential buyers in.

* Self-confidence. Don’t apologise for your work; believe in it, believe in yourself as an artist and try not to compare yourself to others; it’s YOUR work you want to sell, not anybody else’s. A buyer can be inspired by an artist’s passion and belief in their work and your enthusiasm can prove to be infectious!
* Commitment. Agree from the outset that you’re going to be in this for the long-haul. There will be peaks and troughs during your first year but don’t expect everything to run smoothly – and when it doesn’t, don’t bail. Try to tackle each problem head-on and with a calm mind and objective to find a solution. That way you’ll find yourself coping with the good and the not-so-good which is essential to staying the distance when you’re self-employed.
* Initiative. You’re about to become your own boss, PA, publicity officer and admin staff! You’ll need to market your art to the public; use your imaginiation and take up any offer that comes your way, no matter how insignificant it may seem at the time. Word-of-mouth can be a great tool for getting your art out there. Make sure you have a website, business cards so people can look you up after seeing your art at an exhibition and so you can hand out to anyone you feel may be able to help you progress, a portfolio that is up-to-date and time to invest in marketing. It’s no use being the best artist in your area if nobody knows you’re there! Take initiative and sign up to galleries; getting invites to private views can be great for networking and getting an introduction to the gallery itself. Get involved in local exhibitions. Hold one of your own and notify the local media. Use any tactic you can think of but have fun with it and think outside the box!
* Being resiliant. You may come across criticism (constructive or not), setbacks and pitfalls along the way but try to stay focused and positive. Be able to take criticism. Be able to acknowledge when you’ve made a mistake, learn from it and put it down to experience. When the going gets tough, keep going and stay focused on whatever end goal it is that you’ve set yourself; whether it’s art-world domination or just a happy work/life/art balance with enough in the bank to enjoy your life!

Being self-employed has it’s moments. Long hours, tax returns (ugh!), accounting, working alone, no paid holidays – but the rewards can be huge. You work when you want. You do what you want. You can attribute your access to nobody but yourself and work wherever you choose. It’s a lifestyle many envy so keep at it, believe in yourself and in your art and celebrate every little success that comes your way! Enjoy the journey.

Next Month: Registering, National Insurance Contributions, accountants and tax returns – all the fun stuff!

3. ARTISTS SITE OF THE MONTH

This month’s fave site is (cue drum roll……) – Lindi Kirwin!
Lindi has been a member of The Artists Web since 2007 and her site reflects her passion for the art she creates as well as the beautiful aspects of her work! Lindi works in a variety of mediums; dry-brush acrylic, oils, mixed media and pen illustration. Lindi’s site is a perfect example of just what you can achieve with a website of your own; it has not just been used to display her work for sale and that which has already sold – it also gives a great insight into Lindi as an artist.

Points we really like!

• Lindi’s site includes a detailed biography, outlining her artistic background, her inspirations, her passion and contact details, followed by a fascinating mini-feature about one of her works bought by Dragon’s Den entrepreneur, Theo Paphitis!

• Each medium is given it’s own section with clear, beautiful images, explanations of how she achieves the effects and information of how to view more.

• A clear exhibitions page (featuring both past and present) – great to keep up-to-date to encourage those taken with your work on the site to see it ‘in the flesh!’.

• An interview! What a good idea….a real insight into Lindi’s personality and work as an artist. She also offers some tips for other artists here.

All in all, a great site; informative, fun, well-managed, clear and with lots of pictures of the all-important art.

Great job, Lindi!

To see Lindi’s site for yourself, follow this link:http://www.lindi-kirwin.co.uk/

For some tips on how to maximise your own site, read below.

4. MAXIMISE YOUR WEBSITE!

You’ve signed up, you’ve got your site – but is it working as well as it could be for you? Are you selling as much as you hoped you would? Are you not sure what’s wrong? There are a few simple things you could do which could turn things around pretty quickly! Read on for our tips on how to get the most out of your site.

Upload and update!
It may sound obvious, but make sure you upload lots images of your art, whether it’s up for sale or not. For a buyer or even somebody just browsing artwork, to click on a site filled with clear images of art is a treat. It entices them to look at other pages on there, to see what else you have on offer. A ’sold’ page is helpful; all other art should be separate so the potential buyer isn’t confused as to what is and what is not on offer. ‘Sold art’ pages also validate your success! Always appealing!
Keeping your site up-to-date is crucial; if left untouched for too long you may appear to be not trading anymore. Anyone who has favourited your site will likely check back periodically so keep new work listed to keep their interest!

Make it very clear
Ensure that your images are clear to look at and not blurred, cropped or too small. Once a viewer clicks on a thumbnail of a picture/artwork they’re interested in, it will expand to a larger picture – but if the file size was wrong when you uploaded it, this bigger picture could appear grainy or blurred, which is not what you’re after when trying to seal a deal! If you’re in any doubt about file sizes, check on The Artists Web under the Wiki (listed under ‘Resources’) – all you need to know is right here.

Biographies are your spotlight!
Make sure you have a biog. An interested viewer or buyer will want to know about YOU as well as your artwork. Don’t be afraid to list what’s inspired you, your passions, and your favourite point about being an artist. Make it personal; your art is a huge reflection of you and the more you present yourself the better. Include any awards/prizes you’ve felt proud of, any achievements which proved to be a real turning point in your career – don’t shy away from promoting yourself as well as your art.

Info, info, info!
When it comes to images of your art, it is imperative that you’ve filled in as many details on the ‘upload page’ as possible if people are to locate your work on the web. Tags act like flags which help a buyer interested in your genre of art to find you amongst the many others who are also producing work of that genre. When a viewer searches for artwork on The Aritsts Web, the words they put into the search engine will only match up with artwork that has those words in their tags, which the artists puts in when he/she uploads them. Additionally, once a potential buyer has arrived at the work he or she is interested in, it is very frustrating if there is no information such as size, price, medium, title and so on attached to it! Some artists skip writing the info when they’re starting up their site, thinking they’ll come back and do it later – after which it’s easy to forget to go back and do! So take the time as you go through the setup process to fill in the blanks…it will save hassle for the buyers later on and make your site an enjoyable one to browse rather than a frustrating one!

T’s & C’s
Don’t forget these! An interested buyer will need to know your terms and conditions so make sure you include them.

Have fun with your site…take the time to update it regularly and keep it informative and inspiring and you’ll be attracting page hits like bees to the honeypot!

COMING UP THIS MONTH ON THE ARTISTS WEB…..
We hope you’ve read (and enjoyed) our interview with renowned sculptor, Richard Wilson, who so happily (and kindly) gave up some of his gold-dust time to speak to us about his work. Hot on the heels of our interview with Richard, we have the art gallery owner who is famous for picking out the great-and-good artists-to-be before they’ve hit the big time. Fraser Kee Scott owns ‘A Gallery’ in London’s Wimbledon and has a fascinating outlook on art and its place in the world today. The ex-chairman of Tate, Paul Myners, said of ‘A Gallery’; “I don’t see what is so different here (in A Gallery) than in the Tate”. High praise indeed! Make sure you look out for our chat with Fraser on the Blog very soon.

Our next ‘Spotlight’ interview is with Wendy Massey, who has been a member with The Artists Web for some time. Wendy’s insights into her work, how her path has progressed and her work/life balance makes for interesting reading!

WE’RE OUT AND ABOUT……
The Artists Web isn’t just about being online! We’re always out in the art world and making sure we’re seeing first-hand the amazing creations that are being produced. Look out for our reviews and reports on various private viewings and galleries – and if you’re attending any, drop us a line and let us know!

THE ARTISTS WEB ON TWITTER
Our Twitter site has been running since February this year and has already attracted over 4,000 followers! Make sure you log in and follow us – the more people we get to visit The Artists Web, the more art buyers we’ll attract, the more people will be browsing through your art….you get the picture!

COMMENT, COMMENT, COMMENT!
We love feedback! Good, bad and ugly – although the good’s always so much nicer to get! If you read and enjoy a particular article on our blog, leave a comment and have your say. It’s always great to know what you all think and helps us to channel our site to meet your needs and requirements more effectively. So don’t be shy. Also don’t forget the forum…always popular with our members…get in there and get advice/offer support/chat about your art with your fellow members.

That’s all for this month…we’ll be arriving in your inboxes again inFebruary!

Thanks for reading!

The Artists Web

'Study Of A Sculpted Head' - Lyndsey Power

One of our talented artist members, Lindsey Power, is supporting Haiti by donating ALL proceeds from her sales of paintings to Haven House Building,  an organisation which is helping re-build the shattered lives and houses of Haiti.   We have all seen the devastating images of what’s happened in Haiti in the news and have felt the helplessness of feeling unable to help.  By supporting Lindsey and others like her, as well as the more major charity appeals going on at the moment, we can do our part in helping Haiti recover.

Lindsey’s work is moving more towards photography and away from painting, hence her selling her remaining works.  Donating ALL proceeds to the fund is a generous move and we hope everyone will take a look at her beautiful art.  The link to Lindsey’s site is below along with a link to the Haven site.  If any more of you are undertaking similar schemes to support Haiti, please let us know and we will happily tell others about it both here and on our Twitter site.  Good luck, Lindsey!  Let us know how you get on!

'Butterfly Gown' - Lyndsey Power

http://www.lindseypower.com/

http://www.havenpartnership.com/

Title:      Art in the Public Realm / Community engagement Artist, Art at the Centre
Salary:    (40-50k pro-rata)
Location:  South East
Deadline:  Wednesday 27 January 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/index.php?id=search&ne_post_id=32593&cHash=e2066e094c

Title:     Mural artist (Creative Partner), Tennyson Road Primary School
Location:  South East
Salary:    (£15k-20k pro rata)
Deadline:  Friday 29th January 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/mural-artist-creative-partner/

Title:     Artist exhibitors
Salary:    Unpaid
Location:  East
Deadline:  Friday 29th January 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/artist-exhibitors/

Title:     Artist In Residence
Location:  South East, Brighton
Salary:    Expenses paid
Deadline:  Friday 29 January 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/artist-in-residence-14/

Title:     Domus 2010 Artist Commission, PVA MediaLab
Location:  South West
Salary:    (£10k-15k pro rata)
Deadline:  Monday 1 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/domus-2010-artist-commission/

Title:    Landscape artist/Photographer for Pennine Landscapes project, Holme Valley Sharing Memories
Salary:    (£10-15k pro-rata)
Location:  West Yorkshire
Deadline:  Wednesday 3rd February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/landscape-artistphotographer-for-pennine-landscapes-project/

Title:     Call for Artists working with older people, Westminster Arts
Salary:    (£15k-20k pro-rata)
Location:  Westminster, London
Deadline:  Thursday, 4th February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/call-for-artists-working-with-older-people

Title:     Call for Artists working with older people, Westminster Arts
Salary:    (15-20k pro-rata)
Location:  London
Deadline:  Thursday 4th February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/index.php?id=25&ne_post_id=32988&utm_source=twitterfeed&utm_medium=twitter

Title:     Artist Opportunity for Contemporary Heritage, Mid Pennine Arts
Location:  North West, Burnley
Salary:    (£20k-25k pro rata)
Deadline:  It is strongly recommended that interested artists attend the artist site visit  and tour on Thursday 4    February, 12noon-5pm, Towneley Hall. Attendance should be registered with Annette Birch abirch@burnley.gov.uk – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/artist-opportunity-for-contemporary-heritage/

Title:     Visual Artist, Newcastle City Council
Salary:    (10-15k pro-rata)
Location:  North East
Deadline:  Friday, 5th February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/visual-artist-13/

Title:     Socially Engaged Artist, South Square Gallery
Salary:    (10-15k pro-rata)
Location   Yorkshire
Deadline:  Monday 8th February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/index.php?id=25&ne_post_id=33116&utm_source=twitterfeed&utm_medium=twitter

Title:  Arts Facilitator, The Thames Festival
Location: London
Salary: (£25k-£30k pro-rata)
Deadline: Monday 8 February 2010- DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/arts-facilitator/
Contact: Kate Forde: k.forde@thamesfestival.org

Title:          Stone Carving Artist, Arc
Location:    Yorkshire
Salary:         (£15k-20k pro rata)
Deadline: Wednesday 10 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/stone-carving-artist/

Title: Alexandra Reinhardt Memorial Award Artist in Residence £10 000, Max Reinhard Charitable Trust
Location: South East
Salary: (£25k-£30k pro-rata)
Deadline: Extended to 2.30pm February 11 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/alexandra-reinhardt-memorial-award-artist-in-residence-10-000/

Title:     Screen Deva – opportunities for Artists, Chester Performs
Location:  North West, Cheshire
Salary:    (£10k-15k pro rata)
Deadline:  Thursday 11 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/screen-deva-opportunities-for-artists-1/

Title:     Painting & Drawing Tutor, Brunel University Arts Centre
Salary:    (25-30k pro-rata)
Location:  London
Deadline:  Friday 12th February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/painting-drawing-tutor/

Title:     Freelance artist, The Cuming Museum, Southwark Council
Salary:    (20-25k pro-rata)
Location:  London
Deadline:  Friday 12th February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/index.php?id=search&ne_post_id=32341&cHash=0b8a002b14

Title: Public Art Commission, Witham, Essex
Location: Essex
Salary: (£25k-£30k pro-rata)
Deadline: Monday 15 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/public-art-commission-8/
Contact Elainetribley@hotmail.com for a full brief.

Title:            Fun4u – arts and crafts workshop leader, Cheshire West and Chester Council
Location:      North West
Salary:          (£15k-£20k pro-rata)
Deadline: Friday 19 February 2010 – DEADLINE NOW PASSED

http://www.artsjobs.org.uk/arts-job/post/fun4u-arts-and-crafts-workshop-leader/
Email: emma.knight@cheshirewestandchester.gov.uk

Title:     Artist – Artificial Light, LumenOrtis
Location:  South West
Salary:    Voluntary
Deadline:  Friday 19th February 2010 – DEADLINE NOW PASSED

http://www.artsjobs.org.uk/arts-job/post/artist-artificial-light/

Title:     Artist Tutors, mac
Location:  West Midlands, Birmingham
Salary:    (£15k-20k pro rata)
Deadline:  Friday 19 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/artist-tutors/

Title:    Flag Artist, Croydon Council
Location: South East, Croydon
Salary:   (£25k-30k pro rata)
Deadline: Friday 19 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/flag-artist/

Title:    Sculptural Artist, Wyre Forest District Council
Location: West Midlands
Salary:   (£10k-15k pro rata)
Deadline: Friday 19 February 2010 – DEADLINE NOW PASSED
http://www.artsjobs.org.uk/arts-job/post/sculptural-artist-1/

Title:  Community Artist
Location: Chipping Ongar, Essex
Salary: £15,257-£7,357
Deadline: 10:00am 22nd Feb 2010 – DEADLINE NOW PASSED
http://jobs.guardian.co.uk/job/959466/community-artist/

Title:       Streatham Sexual Health Clinic Artist Competition
Location: London
Salary:      £25-£30k pro-rata
Deadline: Sunday 28th February 2010
http://www.artfulife.co.uk/news/

Title:     Junior Graphic Designer – Volunteer Internship, Tate
Location:  London
Salary:    Unpaid (Internship although expenses paid)
Deadline:  Not Stated
http://www.artsjobs.org.uk/arts-job/post/junior-graphic-designer-volunteer-internship/
Title:    Lead Artist Intergenerational project, Somerset Art Works
Location: South West
Salary:   (£40k-50k pro rata)
Deadline: Sunday 28 February 2010
http://www.artsjobs.org.uk/arts-job/post/lead-artist-intergenerational-project/

Title:    Designer, sculptor, Brockhampton School
Location: West Midlands
Salary:   (£20k-25k pro rata)
Deadline: Wednesday 03 March 2010
http://www.artsjobs.org.uk/arts-job/post/designer-sculptor/

Title:    Public Art Commission, Sheffield City Council
Location: Sheffield, Yorkshire
Salary:   (£15k-20k pro rata)
Deadline: Friday 5th March 2010
http://www.artsjobs.org.uk/arts-job/post/public-art-commission-10/

Title:    Freelance contract, ROAR
Location: Yorkshire
Salary:   (£30k-40k pro rata)
Deadline: Monday 10th March 2010
http://www.artsjobs.org.uk/arts-job/post/freelance-contract-1/

Title:    Halewood public artist commission, Knowsley Arts & Heritage Service
Location: North West
Salary:   (£10k-15k pro rata)
Deadline: Not stated although only recently listed
http://www.artsjobs.org.uk/arts-job/post/halewood-public-artist-commission/

Helen Masacz

Helen, how did your career start and you always wanted to be an artist?
I had a bit of a late start, completed my degree in 2004 and got a painting into the National Portrait Gallery for the BP awards the same year. I always wanted to learn how to paint but the opportunity only presented itself when I started evening life-drawing classes and was encouraged to take it further by my tutor in 2001. I actually applied for a foundation course after I finished my ‘A’-levels way back in 1982 but I didn’t even get an interview as I was an ‘O’-level short, so found a job instead.

Your work centres around the theme of transition and the mark that it and time has on people’s lives. Why does this theme interest you so much?
I suppose my life has been a series of extreme transitions; nothing seems to stay the same for long. I look back at what has been and feel disconnected from the past- it seems so different from what I am doing now, it’s like watching a movie of someone else. I use my daughter in my work and try and register the changes she has gone through as a teenager.

How did it feel to be selected by the National Portrait Gallery to exhibit in the 2004 BP Award and the 2005 Mystery Postcard Exhibition?
The National Portrait Gallery is a great platform to show work, so I was obviously very pleased my work was chosen. The following year I was invited by the gallery to submit an A5-size piece of work to be auctioned off alongside other artists such as Tracy Emin and Marc Quinn. The Right Honourable Valerie Amos bought my piece, a life drawing of a friend.

Was your portrait of Nyanda selected by the gallery or did you decide to put that painting forward?
That year I had painted fourteen portraits for my degree show based on inclusion. I chose Nyanda as I thought her expression emotive. Each artist who applies is allowed one entry per person.

'The Wait'

Are your paintings created from imagination or are you influenced by real-life experiences or situations that you’ve witnessed first-hand?
No, my paintings are not from imagination – my experiences and my family’s exposure to social and cultural developments reflect in my work and are sometimes ambiguous to the viewer. Painting from my life’s occurrences validates and documents my experiences; they can be seen as mere suggestions, subtly defining our moment in time.
My paintings are based on thoughts which are influenced by real-life situations, issues of everyday life to long-term influences during our life time, the transition from childhood to adulthood, the changes in relationships over a lifetime and the meaning that the passage of time imprints on all our lives. I think real-life experiences have more impact than imagination, connecting to a greater audience who may relate to the issues of transition.

Many of your paintings seem to capture a pivotal moment in the lives of the subjects Do you aim to provoke a certain reaction or emotion from the viewer with your work?
I would rather leave the viewer to make up their own mind. Each person’s experience is different and I am just providing a trigger point, or not.

'Lilies'

You predominantly use oils; why are these your preferred materials for the works you produce?
I think using oils is much easier than say acrylics, which I find difficult to blend with. Oils feel a lot more permanent than water colour and I have more control over oil pigments.

You’ve exhibited in some enviable venues! Is there any advice you can offer to artists who might experience difficulty in getting a foot in those doors?
Circulating your work in galleries is a good position to be in. Before getting to this stage, you could approach the galleries you are interested in via email individually – not with a one-off email sent to all the galleries you can find. Galleries like to know you have done your research, that you think your work will fit in with them and that they are not just on a massive mailing list. Send a clear, concise covering letter, your cv and some examples attached of your work. Visiting the Affordable Art Fair and others for example, is a great way of seeing which galleries are more suited to you. Some galleries do not like being approached in the flesh without an appointment and some galleries prefer you to send slides; to save time it’s best to ring a gallery first and ask them the best way to show them your work. If the gallery are interested in your work after you have sent your details, they will want to see it in the flesh, perhaps visiting you in your studio to see you in your working environment – it’s best to have a current body of work for them to see. There are plenty of guide books on the market to help you; one I read and found useful was: The Artists’ Survival Manual: A Complete Guide To Marketing Your Work.

How did your current project (portrait of Boris Johnson) come about?
I contacted Mayor Boris Johnson and he was happy to sit for me.  I am not sure what will happen with the painting as yet, but would like it to hang at the National Portrait Gallery.

Somebody once said their success was due to 10% inspiration and 90% perspiration; what would you say is your ratio?
That sounds pretty much about right. I suppose if luck comes into it, your work still has to stand up on its own merit.

'The Absence Of Adam'

What should we be looking forward to from you in the future?
At the moment I am working on commissions as well as preparing and researching on exploring the human condition within my own work. In the New Year I will be exhibiting my Boris Johnson portrait – venue yet unknown – and working on that one.

I’d like to thank Helen for her generous time, for sharing her experiences and  for her fantastic advice!  For more of her amazing work, including the ‘Nyanda’ portrait displayed in the National Portrait Gallery, visit her website:

http://www.helenmasacz.com/

The centrepiece of the exhibition is a recreation of the Swords Of Qādisīyyah monument in central Baghdad.   This triumphal arch, otherwise known as the Hands of Victory, was inaugurated on 8 August 1989. The invitation for the opening ceremony featured the heroic proclamation ‘The worst condition is for a person to pass under a sword which is not his own or to be forced down a road which is not willed by him’.   Rakowitz’s version of the arch incorporates pages from a fantasy novel attributed to Saddam Hussein and imaginative recreations of the infamous ‘Darth Vader’-style helmets worn by the Fedayeen paramilitary group formed by Hussein’s eldest son Uday. The artist reveals the multiple references and resonances of the Victory Arch, from the history of its design to its use as a backdrop for military posturing.

Michael Rakowitz works in the manner of a cultural archaeologist, presenting an unexpected network of connections between historical fact and fantasy.   Rakowitz’s project ‘The Invisible Enemy Should Not Exist’ was shown at the Istanbul and Sharjah Biennials in 2007 and the group exhibition ‘Transmission Interrupted’ at Modern Art Oxford in 2009.  For this on-going project, the artist initiated the recreation of the historic artefacts looted from the National Museum of Iraq in Baghdad during the Gulf War, using common Middle-Eastern packaging materials. An earlier project from 2006, ‘Return’, involved the resurrection of an import-export company run by Rakowitz’s Iraqi-Jewish grandfather.

Tate Modern, Level 2
22 January – 3 May 2010
Admission free; open every day from 10.00 – 18.00, until 22.00 on Friday and Saturday.
Public Information Number:  020 7887 8888

http://www.tate.org.uk/modern/exhibitions/michaelrakowitz/default.shtm

Paul Floyd Blake

Congratulations on winning the Taylor Wessing Photographic Portrait Prize 2009!  How did it feel to get the award?  Did you think you were in with a good chance?

I knew it was a fantastic picture; I really liked the colours and I really liked the pose that Rosie had as well.    So I was quite confident that it would get into the book but in no way did I expect it to win!  Then I got a phone call while I was on holiday in Norfolk to say I’d got into the final four…so then I started thinking ‘I’ve won! I’ve won!’…until I saw the standard of the other entrants and then I started thinking ‘oh, well, fourth will be good!’.  It was just fantastic to be in that final four and then to go along on the night was really exciting.  I’d convinced myself by that point that I had come fourth and I was so surprised to be in that final four so to then actually win it was just fantastic.  The spin-offs from it have been brilliant.  I’ve already been approached by the Foreign Office to go off around the world taking photographs in other countries; that’s not been finalised yet but they’re still making enquiries to see how we can get that together.

How did the subject, Rosie Bancroft, react when she found out?
I invited Rosie and her family along on the night and she got herself a posh frock for the evening so that was lovely.  She was really excited by it all and as they were calling out fourth place – then third – and it still wasn’t us yet we started to get very over-excited!  So it was a really lovely experience.

Rosie Bancroft

You started studying photography as a mature student; has it always been a passion of yours and did you always envisage it as a career path?
When I was younger I wanted to go to art college but I was a pretty poor student really and more interested in playing football!  So I just didn’t get the qualifications I needed to go to art school.  I ended up in a series of  jobs in the laundry business which was actually quite good experience in the end; for the last five years I’ve been driving around, meeting lots of people and by then I’d already started taking photographs and thought it would be lovely to do little project focusing on all my lovely customers.  I didn’t really have the confidence or the time to do it then, what with trying to bring up two boys and do a full-time job.  Then my partner and I moved and it was my intention to start the same line of work in the laundy business in our location but she said to me , ‘look, rather than do something that you’re not that bothered about, why don’t you do something that you really like?’.  Then she shoved me off to college!  I ended up doing the first year of the National Diploma and that’s when things started working in my favour.  There was a photographer that I knew who invited me to assist him on a cultural programme on the Commonwealth Games.  That was a six-month programme and he very graciously let me take photographs rather than carry the bags.  Towards the end he was sending me off to do shoots on my own as he was so busy.  It was that time that really gave me confidence and made me believe that I could actually do this.  His name is Matt Squire by the way – I always feel I have to credit him because I’m that grateful!

You work for clients as well as heading your own projects and exhibitions.  Which do you find more challenging; meeting the tight deadlines of others or ensuring your own work is successful?
I actually really enjoy doing both.  If my client work dries up for a bit and I’m just concentrating on my own work, I can get a bit lost in what I’m doing so it’s nice to have the contrast.  Likewise, if I’m only doing client work I get a bit worried that I’m not fulfilling my photographic yearnings if you like!  So for me, they really work well in tandem.

How easy (or difficult!) is it to get your work into galleries and published?  Is there any advice you could offer anybody trying to achieve the same?
In my experience, it’s having the front go just go and approach people and get talking to them!  I’m always sending my work off to galleries and I’m always trying to meet people from that field.  I’m not really a pushy person but when it comes to this I do think you just HAVE to meet and talk to people who work in that area.  Even if they’re not going to give you an exhibition, they are going to give you advice.

What inspires you to document certain themes or aspects of life?  Do you have ideas in your head or do you find yourself being inspired by a chance observation or random event?
I suppose I’m always thinking about ideas.  When I was younger I had a couple of friends who were very funny and who were great observationalists; one of them’s an actor now and spending time with them made me appreciate all the little details and idiosynchrases of people and since then I’m always on the lookout for those qualities.

If you’re looking around you, you’ll always see beautiful things going on and I try and pick those out.  Taking photographs sparks new ideas in itself anyway; you might take a photo of one subject and when it’s developed something else comes out of the picture at you and sparks off a new idea.

How is your current project On Track For 2012 going (apart from having just won a major prize, obviously!).  Are you finding that new ideas are coming to you as it’s going along or have you stuck to the brief you originally had a the start?

I had a shoot in London at the weekend and I got lost and then when I got to the venue it was one of these breeze-block-and-corrogated-iron structures with no natural light – generally a very sad venue!  I really struggled to get a nice picture with that set-up and after days like that it’s quite demoralising.  But generally it is going well and the ideas that come out of it are developing.  When I started it was just to capture a shadow of these people and to see them grow up and hope that one of them would get to the Olympics.  But as time goes on I’m starting to see a lot of other themes coming out of the work.  The ultra-professional world that these athletes live in, the amount of time and dedication – not only for the athletes but for the families as well – and the different relationships between the coaches and the athletes; all of these things are coming into the project.  I don’t know if I’ll be able to convey all these elements within the pictures but they all affect the way in which I take the pictures now.  The core of it is still seeing these youngsters grow up; it’s fantastic!  You start to feel part of their lives; I was there when Rosie Bancroft beat her personal best and I was there when Matt Roberts jumped his personal best and it’s so special to be there.  Even though I see them once, maybe twice, during the year, I do have dialogue with them throughout the year as well and try to get them to write about their experiences as they go along so for me it does feel like I’m getting to know them pretty well.  They’re letting me into their lives so it’s a big deal on their part too. And I hope that’s good for both of us!

How long does it take for a project or exhibition idea to take shape?  Can it develop over months or do you get an idea, decide on that and start to shoot it straight away?
They vary really.  For example, the ‘Show Us A Sign’ series (a collection of photographs of signs outside churches taken round the country) took a long time.  It was really enjoyable hunting down and finding these signs, some of which were very funny!  I’ve got over a hundred of those now and am hoping to get them published. From seeing and photographing the first sign, adding a couple more to the collection and then realising one day that this could be a great project – that was a couple of years.

'Show Us A Sign'

But sometimes it’s really nice to do a short project and sometimes that is the best way to do it.  If a project goes on for too long I find I can start going all formulaic with it.  The enthusiasm for it can wane as well.  So again I think it’s something that works best if there’s a mixture; one-day projects for some and others which take a whole lot longer!

You shoot with a large format 5X4 Wista Field Camera; have you always used this type of camera and what do you like about it?  Does it particularly suit the projects that you do for any particular reason?
First and foremost it’s got fantastic quality to it.  So for definition and information in the image it’s brilliant. Photographs taken with it have a very distinctive look to them which is another appeal.  It is actually quite difficult to use; they are the old-fashioned plate cameras – you put in one sheet of film and it takes time to set it up and to focus it and so on.  The other side is the cermony of it; when you’ve got a digital camera and you’re holding it up to your eye and firing away it’s reminiscent of the paparazzi!  People react differently to that style of shooting than they do to this camera because I have to go under a blanket and they see me using the bellows and so on and it seems to them to be more of an occasion.  They’re less afraid of it and more giving in their poses!

What has been your favourite exhibition or series that you’ve produced to date and why?
Well, you’ve got to enjoy doing them all really!  I suppose the one so far that I got the most enjoyment out of was the first one that I did which was called ‘Changing Faces Of Yorkshire’.  I was just starting a degree and started to explore the Pakistani community there.  That led me to explore other communities of Yorkshire so it was fantastic,  going to meet the South American community in Leeds, the West Indian community in Doncaster and so on.

It was a fantastic way of meeting lovely people and when I put the exhibition on in Halifax, loads of people came to see it.  And these were people who wouldn’t normally even consider going to galleries so to them it was a real occasion;  they all brought food and drinks and it was a really beautiful experience.  Whilst I want to make beautiful and intriguing images, I also want to make very accessible images that everyone can enjoy.

What place do you feel photography has in today’s society when it comes to documentation? Do you feel it’s sometimes trivialised by paparazzi and society’s obsession with celebrity?
Everyone takes images now, don’t they?  There are mobile phone cameras and digitals and so on…I must admit that I do think it’s a shame when people are at a gig or a concert and rather than take it in and watch it they’re standing there holding their cameras or phones up to take a picture.  You should just enjoy what’s in front of you in the moment!  I think there is a boom in photography; it seems to me that there are more photography competitions and contests going on and lots of organisations being established which promote photography and not just instant snaps.  That can only be a good thing; as far as the ‘celebrity shot’ is concerned, it does seem to be a bit of an obsession or a phase that society is going through at the moment!  For me, I’m not at all bothered about celebrity.  I’m interested in people and if they happen to be famous, all well and good but I wouldn’t photograph them purely because they’re famous.

Do you aim to provoke a certain response from your audience with your photography?
It’s difficult because when you take a photograph, you always want to produce something that’s special and which isn’t just a straightforward image.  I find it hard to create a sense of intrigue or vagueness in a picture.  So I’m sure  that I’ve still got loads to learn and a long way to go but I’m enjoying trying to make my way there!

Are there any downsides to the job?
It’d be horrible to say that there are because it’s just such a fantastic job!  So….no!

Would you recommend photography as a career to others?  How might you suggest somebody who is interested get started?
Try to assist someone; that’s always worth a shot because you get so much experience.  Sometimes people make photography out to be far more complicated than it really is.  I think that if you just put yourself in a position to take lots of photographs, you can actually really surprise yourself.  Just take photographs!  I learn from taking them and the more I take, the better I become.  I always make sure that I don’t go too long without taking some.

What do you love about your job?
It’s fantastic to be creative and it’s awe-inspiring when you take a picture and see the finished result and think  ‘wow…I took that!’.  Even more fantastic than that is the great excuse it gives you to go and meet lots of people! You can dip into their lives and make friends with them and so on.  For me, that’s the best aspect of it.

I’d like to thank Paul for his time and his allowing us a glimpse into his inspirational career.  You can see more of Paul’s work and his other projects at his website:

http://www.floydphotography.co.uk/