#image provide by the lovely madame curator

[hellsite-hall-of-ex-girlfriend]

origin stories

@hellsite-hall-of-fame

[hellsite-detective]

*sighs in relief* (anon looking for the red blog with a blue eye pfp)

My most notable post, and the one this blog reblogged multiple times that brought our paths across each other, was a "do you love the color of the sky" post, but I made it extra long. Like, several times as long as the original. It was evil, I know. It was for April Fools. The blog I'm looking for reblogged it from me en masses, a good 20-40 times in a row. That's what made me take notice of them. Most of the time I just reblogged posts, but that one was a special occasion. I also had a bunch of back and forth posts with a different mutual, tagged #homeskillet, which might be unique enough to be of use? Oh, and one of my most popular posts was a Awsten from the band Waterparks that I edited to have transparent hair so it would change color with your blog theme (made that for a friend). Maybe that would help? The blog I'm looking for never reblogged that post, but it still might be worth something?

My old blog used to be ftinally (currently on anon because my new url is extremely similar, but I've had too many bad experiences with sending asks off anon and then getting a bunch of hateful asks in response that I'm wary of attaching my url to asks).

The title of my blog was "don't write yourself off yet", like the Jimmy Eat World song. It was only deleted around September/October, so the trail isn't too cold yet. Hopefully some of that information is useful? Thank you so much for looking into this!

finally... a lead. first thing was first, i saw the mention of "do you love the color of the sky" and jumped for joy. see, i'm very close with Madame Curator, @hellsite-hall-of-fame. and dare i say she is the Queen of the Sky. i went to her and asked for any extra long color of the sky posts, to which she sent me two different variants. however, neither of these were gettin' me where i needed to go. luckily, i was provided a blog name i could track! doin' quite a bit of diggin' i managed to stumble across the aformentioned Awsten post. now, i know that i was told that the missing person hadn't reblogged this one, but at least i could confirm this was what i was lookin' for.

so, i went down to my ol' pal, Google, to see if they knew anything about "tumblr ftinally." and they handed me a whole laundry list of links. it was time to meticulously check every single one of these. i was hopin' to stumble across the color of the sky image that my client had mentioned. unfortunately, i wasn't findin' the color of the sky post. however, i went back to the Awsten post and thought i might be able to use that as a lead. problem was, that wasn't gonna do me much good. usin' the Wayback Machine and searchin' for the blog's address also wasn't doin' me much good, and i was gettin' worried this was gonna be a dead end.

i hate to do this again, but is it possible you have any defining characteristics of that color of the sky post you made? any accompanying text, tags you may have used, or even original image files and could reverse image search? and of course, feel free to message me this information in private if it's too personal to share in an ask, or not mention it at all if you're not comfortable!

additionally, when you say "red blog" do you mean the blog had a red theme, or the blue eye was on a red background in the actual image? that also may help to narrow the search!

i will not give up on you, anon. i will find your mutual if it's the last thing i do!

Post Case: Under Investigation

[mohammed-sajid-iraqi-blog]

Feel the serene touch!

How often does it happen that you cringe for having that one long weekend, and end up having nothing which you dreamt of? Well, it happens every time…and to each one of us…isn’t it?

Trust me on this!

Be it a workaholic man, a homemaker or our working ladies to the kids of today. The life today has changed, changed to an extent which we would never want to cherish.

sighs *well, enough of cribbing! *

Here’s what I wanted to share with Y’all!

So it was during the last month when I was offered an opportunity to have a lifetime experience. Something I know we all would’ve loved to go for…I was extended with an invitation to this beautiful hotel, Treehouse Hotel, Club & Spa.

Enjoy the surreal!

A strategically located hotel, in Bhiwadi which is a premium leisure hotel as well as one of the best conferencing destinations near Gurgaon. Treehouse Hotel, Club & SPA are the best for Long Stay Guests in Bhiwadi.

The invitation was for an event named – ‘Artotel- Edition 1′ “Past through the Lens of the Future”. The first in a series of experiences, Artotel was a creative free play between talented young Industrial Designers and local artists from Rajasthan.

  Left to Right: Richa Khurana Singh, Sonali Sudarshan, Mohammed Sajid

Mohammed Sajid with Corporate Chef, Treehouse Group of Hotels

  Covering all aspects of ‘fun’ as well as ‘creative expression’. The event saw the hotel walls turning into a canvas for the artists and the guests who were set free to paint their thoughts on the canvas.

  ‘The Madame’ after completion By Sonali Sudarshan

Anonymous- Amrai Dua

The Madame in Making!

The Lingua Effect! – Mohammed Sajid

Aquarium on the wall!

The Sequencia : Treehouse Resorts Corridor!

The Peacock on the wall..

Artotel’s first edition was curated by Ishita Kumar- a young and upcoming Industrial Designer,

Left to Right: Ishita Kumar- a young and upcoming Industrial Designer, Aadhar Kumar- Director Anuraga Palace, Adityajeet Singh Sood, Digital Designers: Dipak Sharma, Saksham Karunakar & Aman Vig.

joined by Aadhar Kumar- Director Anuraga Palace, Adityajeet Singh Sood- Art Student, Jaipur and Digital Designers Dipaq Sharma, Saksham Karunakar and Aman Vig.

While speaking with The Quest, curator Ishita Kumar, said “We were very keen to bring a contemporary and relevant touch to the work of the local artists, and it was interesting to look at how many things we took for granted in the 90’s and which now no longer exist with the advent of new technology. It was a great experience to actually showcase this on the walls of the hotels, giving us a large canvas for our work.”

while in the process…

Towards the completion

The walls will bear the art for the next few months, allowing all guests coming in to view and take inspirations from the pieces.

On the occasion, Jayant Singh, Founder and Managing Director, Karma Hospitality, said “The Treehouse Hotels go beyond the usual standards of hospitality to provide ‘experiences’ to guests. We understand that the best memories come from exquisite and exhilarating experiences, and these are what we wish to create with our many properties, be it culinary experiences, adventure, or creative expression. Artotel is the first edition in our series, where we have worked with upcoming talent and local artists. We have used the walls of the resort as the canvas, as we wanted the hotel to bear testimony to this event, and make the art a part of the hotel itself.“

With 101 premium rooms including suites and a Presidential Suite along with the wide range of recreational facilities at the hotel like Swimming Pool, fully equipped Gymnasium, Squash Court, and Spa with steam and sauna, Treehouse serves as a great weekend getaway from Gurgaon, a close and affordable short holiday near Delhi NCR.

The Lunch in Foir

The Room:Inside

The Pool View

The Favourite place inside the room

Prepped up for Gathering

Pool Side

Your way to the pool

The Gardenia

Flowers in the Gardenia

The Entrance

the gathering sceua

View from the top

Restaurant

The tables

The evening view

Still waiting? visit now!

Happy Travelling!

  Looking for a weekend getaway? Here’s where you should go! Feel the serene touch!

[nofomoartworld]

Hyperallergic: The Portraiture of Paul Cézanne

Paul Cézanne, “Portrait de l’artiste au fond rose” (all images courtesy of Musee d’Orsay)

PARIS — Starting in Paris at the Musée d’Orsay, independent curator and art historian John Elderfield (here assisted by curator Xavier Rey, director of the museums of Marseille) has curated the first (and a once-in-a-lifetime) traveling exhibition devoted entirely to Paul Cézanne’s portraits. Cézanne made almost 200 portraits during his career, regularly painting friends, strangers, and, more rarely, prominent figures in the art world. He did portraits (often in multiple versions of the same subject) of his mother, his father, his uncle, his sister, his son, his art dealer Ambroise Vollard, critic-novelist-playwright-friend Emile Zola (a relationship that has been cinematically dramatized), local peasants, himself, and Marie-Hortense Fiquet. Portraits by Cézanne includes about 60 psychologically loaded canvases from all periods of the artist’s career, as well as four drawings and two sketchbooks.

Standing within the first gallery, I ask myself: If Cézanne means an emphasis on pure intense perception and proper autonomy for art (painting-as-painting), then why drag the human face — with all its loaded humanist psychology — into the fray? Even though the show’s chronological organization illuminates Cézanne’s formal developments, it is difficult to discern in the initial portraits the ferment of modernity that Cézanne is known for. Aside from affording glimpses into the artist’s private life, some of these pieces are quite banal. Yet how can I not get caught up in the torment of emotional turmoil where plastic research and family frictions intermingle?

Paul Cézanne, “Paysan assis”

Cézanne was interested in simplifying naturally occurring forms to their geometric essentials: to treat natural objects as cylinder, sphere, or cone (an apple as a sphere, for example), which is curiously typical of early perceptual-cognitive robotics. Cézanne’s desire to capture the simple truth of human perception also led him to explore binocular vision, rendering in his later paintings slightly different simultaneous visual perceptions of the same phenomena, because our two eyes see things from slightly different perspectives. This shifting provides the viewer with an aesthetic experience of depth that is quite different from earlier ideals of single-point perspective. Cézanne depicts his models in a humble yet monumental style, and in the depiction of their faces, he applies prism-shaped color to some areas so as to bring out the reflections of light.

Of course, Cézanne, the precursor of Cubism, has long been associated with the genteel limestone landscape of Montagne Sainte-Victoire and the formal plastic research he performed on apples, which involved looking at them through simultaneous different perspectives His use of tight planes of color applied with petite, delicately hacking brushstrokes — which build up geometrically formed images and corresponding flounced backgrounds (see, for example, “Boy in a Red Waistcoat,” 1890) — is what makes his Postimpressionist reputation admirably steadfast. Done in distinct but overlapping brushstrokes, sometimes reflecting slight shifts in the artist’s perspective, Cézanne’s formal experiments involve incorporating faces and bodies into geometric compositions that echo his backgrounds. Treating his whole surface as of equal interest, Cézanne’s skilled, hacking handling of figure and scenery blur the boundaries a bit between portraiture, landscape, and still life.

Paul Cézanne “Portrait du fils de l’artiste”

Often, the painted interiors that surround the sitter wave and waver a tad under the effects of what amounts to his hacked deconstruction of a traditional artistic perspective. There is no question that his lovely, shuffling paintings are hugely important: they influenced Cubism, to a lesser degree Fauvism, and, through phenomenological philosopher Maurice Merleau-Ponty’s 1945 essay “Cézanne’s Doubt” a good deal of post-minimal process art. Also important is Roy Ascott’s late-1950s analysis of Cézanne’s later paintings (my favorites, such as “Les Grandes Baigneuses,” 1905), which paved the way for the fluidity of digital, electronic, cybernetic, interactive, and telematic art of all kinds because  Cézanne’s choppy, exploratory brushstrokes are highly characteristic of time spent in a world flooded with shifting data.

Although portraits account for fewer than 200 of the thousand or so canvases Cézanne produced over his lifetime, he began his artistic career by executing many portraits, including a lot of self-portraits and 27 portraits of his artist model (and later wife), Marie-Hortense Fiquet. These are some of his best works. In several self-portraits, the painter connects figures to their background in a tightly harmonious manner that suggests a flat unified field. On the other hand, I did not care for “Uncle Dominique” (1860), which looks as if Cézanne used a palette knife to apply gobs of paint to the canvas almost like cement. It made me feel like Cezanne, armed with a knife, was fighting with the surface of the canvas. But he painted a better, rather ironic, portrait of his father, with whom he maintained a conflicting relationship. Sitting in a high-backed chair, the very conservative Louis-Auguste Cézanne is depicted with a thick touch reading L’Evénement, a newspaper in which his friend Emile Zola had criticized academic painting. One can almost smell the bitterness of the painting, as Cézanne’s father had once forced him to study law rather than art. In defiance, Cézanne became a frequent visitor to museums, had several art teachers, and gained admittance into avant-garde Parisian circles in the late 1860s. Imbued with art and literature, teenaged Cézanne threw himself into painting and signed a first intimidating “Self-Portrait” (1864), where he looks like a menacing monster with bloodshot eyes and a tight-lipped and petrifying visage.

Paul Cézanne, “La Femme à la cafetière”

One of the highlights of the show is the bringing together of four versions of Madame Cézanne in a red dress. “Madame Cézanne in a Yellow Chair” (1890), very similar to the one from The Art Institute of Chicago, conveys a mixture of hard melancholy and resignation, particularly her cerise cheeks and forehead that evoke shame or a slap. Cezanne’s true aesthetic revolution may have been performed on bowls of forbidden fruit, but at least the part of the painting of Fiquet’s lower dress also takes on spectral features and geometric forms, to the point that Madame Cézanne becomes less subject than object. Psychic and physical instability is reflected in these nifty but nippy portraits by the apparent semi-floating/shifting of the model and her watery, bland look. (For more on Fiquet’s portraits, see Susan Sidlauskas’s 2009 book Cézanne’s Other: The Portraits of Hortense.) Through these faces and bodies and backgrounds, we can trace the changes that occurred through Cézanne’s experimentation with artistic styles and methods concerning shifting light, visual perception, and resemblance. The dissolution to a densely worked surface is almost complete with the late-paintings of Vallier, who helped Cézanne in his garden and studio at Les Lauves, Aix-en-Provence, which were made shortly before the artist’s death in 1906.

Cézanne’s portraits trace the rich and complex development of an artist who demonstrated unprecedented originality and independence in his late work. It’s clear why both Matisse and Picasso called Cézanne “the father of us all.”

Portraits by Cézanne is on view at Musée d’Orsay (1 Rue de la Légion d’Honneur, 7th arrondissement) through September 24. The exhibit will travel to the National Portrait Gallery in London from October 26 through February 11, 2018, and the National Gallery of Art in Washington from March 25 through July 1, 2018.

The post The Portraiture of Paul Cézanne appeared first on Hyperallergic.

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[mazjpeginfo]

14. AOI LECTURE.

Notes from the AOI lecture (a.k.a our shining light, illustration guru) under the read more. 

Illustration – AOI Member – Robert Sea-Heng (look at his website).

-       Freelance Illustrators.

-       Students.

-       Colleges.

-       Agents.

-       Collectives.

-       Commissioners.

 AOI is pushing for the right rights and supporting illustrators.

 Objectives;

-       To be a voice for illustrators and provide support and advice to their members at every stage of their careers.

-       Create awareness, advance and protect illustrator’s rights.

-       Encourage professional and ethical standards within the industry.

-       Promote and improve the standing of illustration as a profession.

 Who’s going to see your artwork and how? Nothing should be holding you back from creating your own website. Use cargo if you don’t have it. Iwantmyname.com. Your website is how you will visually communicate with your clients who you want to be.

Make sure your website works on ipad and tablets; more people in the industry are using these methods.

Nate Kitch (look at his website). Website; show work, show name, show email address. Simple. Don’t put contact forms on your website.

Collectives.

Peepshow is an example.

 Starting a collective is a good way to support each other after uni and helping each other get work. Be a collective to get work together and be employed; not just displaying your work.

Blogs/social media.

Don’t do something if you don’t want to; it’s better to not have something than to do it badly. 

-       Keep updated regularly.

-       Keep creative but professional – separate blog/social medial are separate from work/business.

-       Try not to be too inspired by current trends or by your contemporaries.

 Be doing personal work until the day you die. A good personal project is just as good as commission work. Do them, do them, do them.

Your contemporaries are successful because they’ve been creating their own nice; you need to do this too. Don’t copy.

John Burgerman; toddler project is successful person project.

Emma Block. 

Social media is free advertising and it’s all the advertising you need.

Twitter; personally recommend twitter and Instagram. Twitter is your creative voice. Follow all the art directors you love; follow all the companies you love. You can add your voice and illustrations to trends with hashtags. All the design studios and creators and art directors are on twitter. Follow them and see what they’re talking about; get involved.

 Facebook; have a separate facebook for your illustration than your personal. Not many commissions come through facebook.

 Twitter and Instagram is where commissioners will look at you. Be aware of the content you’re putting out. Don’t go off and spout shit/drag your clients. It’s unprofessional. Be an adult, count to ten. The law is there to protect you and that’s what you should fall back on.

BE ON INSTAGRAM.

-       Illustrator’s instagrams will be more up to date than their websites.

-       Look at how AOI members are using their instagrams.

-       You can curate the way your Instagram works.

-       Look at marcmartinillo.

-       You should be drawing and being creative every day.

-       The photos you upload to your Instagram add to your BRAND. It’s how you communicate yourself to others visually.

 Have your website and social media and try get your work in as many places as possible. There’s loads of agencies and directors on beehance. You have to have a digital presence.

Self-promotion – Mailers.

If you sit and wait, it’s not going to happen. You have to reach out and go places. To get people to contact you, you can contact them first.

 Research your clients and who you want to work for. Drop ‘dear sir, madam, whoever this may concern’. Use the person’s name you want to work with and spell it correctly. Figure out who you want to work for. Select work from your portfolio that is appropriate for them.

 Send things in the post, make them postcards, A5 cards. Send them out.

 If you want to catch a good client, you must have good bait.

 Follow up your emails with another email.

 Everyone loves getting stuff through the post. Your work will get put up on a pinboard.

Accounts.

Half of your business as an illustrator IS business.

An illustrator has to be a book keeper for their own registered business.

-       Register for Income Tax with 3 months of starting.

-       Keep up to date Accounts.

-       Retain all claimable receipts.

-       Keep paperwork involved with every job.

Every little helps as an illustrator.

 Copyright.

Copyright = the right to copy.

-       Property Right that protects any work by a “creator”.

-       It lasts for 70 years after the creator’s death.

-       It does not require registration or a © symbol to exist.

Never give away copyrights be the hour or day.

In America it’s better if you register your illustration with clients. The Copy Right law is still there, but you’ll have more weight behind you if you pay for this thing.

No Copyright in an idea or a style.

Copying a “substantial” part of a work infringes Copyright. It is a test of quality not quantity.

Copying one key image from the work, no matter the size could be copyright infringement.

 If you’re copying a photograph, that photograph will have copyright. As fanart and social media fodder, it’s chill – but don’t sell it.

Loads of followers does not equal making loads of money.

Don’t copy images directly, that infringes their copyright.

If you start financially benefiting from copied photographs, you will run into trouble.

You have the skills to create a totally new image.

Copyright can be ASSIGNED by you to a client. We strongly advise you don’t do that.

The reason we say don’t do a copyright assignment is because the client will never have the right money to do it. The fee attach should be in the £1, 000’s mark. You lose control of the image. You can’t include it in your portfolio. They can sell it to anyone. All your rights are going away.

Say “I won’t assign my copyrights; however, I will license my copyright as is the industry standard.”

There is fuck all reason to do that job if your client isn’t going to pay you correctly. 

Moral Rights.

Right of paternity – the right to be identified as the creator of a work.

Right of Integrity – The right for your work to not be subjected to any derogatory treatment. The right to not have works falsely attributed to you.

Moral Rights are automatic but can be waived.

Rights – online.

-       Protect your work online so that you can always be identified as the author.

-       Low resolution files (72dpi) and name as part of file name.

-       Use © symbol on every page/blog/social media.

-       Read Terms and Conditions of Website/Social Media image use/filenames – ‘Orphan Works’ are easily appropriated online.

Once you sign up for some social media, a worldwide, nonexclusive, will have a license to your work forever and ever and ever.

Contracts can be written (formal) or verbal (informal).

No matter the size of the commission or client, accept the commission in writing every time, before you start any work.

As a business yourself, just make your agreement fair. You are two equal parties.

 This doesn’t need to be drawn up by a lawyer or full of legal jargon:

WHO is going to do WHAT by WHEN and for HOW MUCH.

 To…. Is the person you are talking to directly.

When you’re doing a commission, get a nice, clean brief off them. If they don’t know what they want, ask more questions. Give them three roughs maximum, let them choose and offer alterations, and then move forward with that one final design. If they want any other additions, make them pay for extras.

 You need to know who the end user is.

Contracts.

 What they do:

-       Make an agreement binding.

-       Gives clarity and certainity – highlight points not agreed.

-       Demonstrate professionalism and confidence.

-       Evidence for any disputes – avoid arguments later on.

 Look out for:

-       Copyright Assignment, Moral Rights Waiver, Irrevocable Licenses.

 Crucial Clauses:

-       Termination, Cancellation, Rejection, Sub-Licensing.

 Pricing – The Essentials.

DO NOT WORK FOR FREE.

Working for free undermines the industry, your future career and income potential.

Understand your worth to the client; it’s your illustration helping the them; it’s your illustration that is making their thing successful.

QUOTE ACCURATELY.

Accurate pricing and licensing is mutually beneficial to both client and illustrator.

You have the right to ask more questions of your client in order to make the right license.

Illustrators don’t work on a day fee.

Bigger clients may have non-disclosure agreement.

 “I’m very happy to license my illustration, which is industry standard, once I have more information.”

Pricing – Licensing.

 A license is separate to selling an original artwork or a print, no rights transfer and no licence is granted for such a transaction.

 If they want a longer license, they just have to pay a higher fee and you can relicense it.

Approach Client for the information if they have not already provided it. Do not quote without the information, or provide ball-park figures.

Demonstrates professionalism.

Demonstrates accuracy and actual market value.

Makes client consider ACTUAL USES as opposed to POTENTIAL USAGE.

Allows for additional negotiations and fees for additional usages.

Pricing – Advertising.

 Printing digital is too vague; could be a website, a billboard, a leaflet.

 Ask questions – ask specifically what a client wants it for.

 Graduates are open to exploitation; people will take advantage of you.

 Know what fee you should have; when they ask for it, they will pay whatever you say (if they’re a big brand).

If you don’t ask, you don’t get.

 Repeat clients are very important to illustrators.

Advertising.

 Above the line advertising –

Publicity material appearing within paid space advertising.

The most amount of money is this one. ‘Out of home’ stuff is where more people see it.

Print – Magazine/Newspaper Adverts, Posters, Billboards etc ‘Out of Home’.

Below the line advertising –

Publicity material that is not paid space advertising. Print – fliers, direct mailing, internal documents.

Digital – Client’s website/Social Media, Newsletters

Pricing – Editorial. Clients: Consumer Magazines, Trade Magazines, Newspapers, Blogs Size of Client is based on circulation – abc.ork.uk

Usage: Print, Print & Digital, Digital Only - cover, spread, full page, half page, spot.

Territory: can vary, UK generally

Duration: Length of Issue – 1 Month, single usage.

Free Newspaper – Large Circulation UK Licence, Single Usage for Interior Article: 350-400 per illustration

 Pricing – Packaging.

These are high risk clients. Make sure you are charging the right fee and have everything firmly in place so you don’t get screwed over.

Packaging licensing are one year for special addition and three/five years for standard.

Large UK Supermarket; £400-£450 per illustration (spot coverage) Large drinks brand: £2750-£30000

Pricing – Buyouts.

 Generally good for illustrators.

 Clients can mean copyright assignments by the term ‘buyout’.

 Always confirm it is a time specific ‘licence’ not an assignment:

 Duration of Licence.

1 year – 300 is the original fee.

2 years – 60-70% of the original fee.

3 years – 2x original fee

5 years – 3x original fee

10 years – 5x original fee

Re-licensing: Extending exactly same licence – 60-70% of original fee for 1 year later.

 When fees start to look mental – usually past the 3x – this is when you should be looking at fee you’d accept and not necessarily go by this formula. Think of what the client can afford on their budget.

Additional fees.

 Creation (origination) fees:

client speculative work (presentation licence) visualisation (presentation licence)

 All illustration should be licensed, day rates only apply to the following: Day rate for live drawing/visualisation - £400 - £700 depending on client.

Additional Fees: Additional amends (more than 3 rounds) - your fee includes up to three minor revisions.

Murals; murals should have a license and set fee. If they want you to come and paint the illustration, that should be an additional day fee.

AOI Affiliated Student Membership.

-       Access to the members only section Pricing Survey, Articles, Interviews, Advice and Information

-       Dedicated Support led email and phone – pricing, ethics, contracts and professional practice.

 Student membership.

 Discounts on Publications and Events.

Portfolio Consultations with Fig Taylor.

Member News – Profiles Member’s commissions, exhibitions and projects to £50, 000 + followers.

Just £55 – same benefits as £160 membership.

Receive the all new Varoom Magazine twice a year.

Your membership pays for itself.

@theaoi

 Know your worth as an illustrator.

 Research the companies that are championing freelance illustrators right now.

 AFTER Q&A.

A1; If work published on a client’s website can be viewed worldwide, it is a worldwide licence.

A2; Promotion should never be in lew of payment.

A3; You do not have to pay for copyright, you can use the © free of charge.

A4; Copy right on collage; even if you just use someone’s eye out of a newspaper, is it copyright infringement. Copyright ends – if it’s been 70 years after the person has died. Look at copyright free images. You can create your own collage images; take photos and create your own photostock. Use as much of your own work as possible. Or use older photographs.

Nine times out of ten no one will say anything to you, just be aware – like the Obama ‘Hope’ poster. More people are aware of their rights.

A5;If someone features your work as means of promotion, they won’t pay you. Unless it’s your feature on the cover, then they should pay you.

A6; Agents; 15-20% of AOI members have agents. Agents can and will exploit students. An agent should have a contract – if they don’t, run away. 15% literary agent. 35% for bigger (?). You don’t need an agent to be a successful illustrator. Most illustrators who benefit from agents were already successful before getting one. Be very cautious.

There a low brow agents who screw over illustrators taking up to 70% of illustrator’s pay.

You should have a relationship with your agent; be talking all the time. Nothing should be agreed before you understand something.

Self-promotion books should always be seen as HIGH RISK.

Q7; Someone should never offer you a part of their business; it should always be up front pay for your commission. Have all your bases covered.

Q8; Murals; licence the illustration to a client – they are either temporary or permanent licences. Usually they are permanent. The fee is based on it being interior or exterior and the size of it. Painting the mural would be a day fee on top of that original payment.

Q9; For price of your prints; take into consideration your time, the material costs, and the value the illustration has to you. It’s totally up to you. Don’t ever sell a big print for less than £50.

Newsletters; bikini lists, mail chimp are ones you can use. Pick and choose who you want to send these newsletters to.

Anyone who has contacted you, build up your own client list.

[nofomoartworld]

Hyperallergic: A Major Exhibition Recasts the Influence of Italian Sculptor Medardo Rosso

Medardo Rosso, “Enfant malade (Sick Child)” (1893–95), bronze, 10 x 5 3/4 x 6 1/2 inches, Galleria d’Arte Moderna, Milano (all images courtesy Pulitzer Arts Foundation)

ST. LOUIS — An extensive study of the little-known turn-of-the-century Italian sculptor Medardo Rosso, Experiments in Light and Form, now on view at the Pulitzer Arts Foundation in St. Louis, does the important work of rescuing specificity from history. I fell in love with each of Rosso’s sculptures individually, as well as the way architecture by Tadao Ando held the difficult forms lightly on their pedestals, giving each work more than enough space to tell its story. Rosso’s sculptures run the gamut of sensations, from evil to angelic, while maintaining an uneasy chiaroscuro abstraction. Peers like Auguste Rodin may have overshadowed Rosso, but time has vindicated him as a decisive contributor to the birth of Modernism.

Medardo Rosso: Experiments in Light and Form, installation view (photograph by Jim Corbett © 2016 Alise O’Brien Photography)

Medardo Rosso: Experiments in Light and Form, installation view (photograph by Jim Corbett © 2016 Alise O’Brien Photography)

Rosso falls into the stereotype of an “artist’s artist.” Experts on his work hypothesize that he wasn’t just influential in the Parisian avant-garde during the emergence of Modernism, but that he also had a productive impact on artists like Pablo Picasso, Constantin Brancusi, and Henri Matisse. Brancusi’s slick and elegant sculptural forms echo famous works by Rosso, like “Enfant Malade” (1893–95) and “Madame X” (1896). Matisse and Picasso’s gestures and textures with oil paint mirror the surfaces of Rosso’s rough edges.

Rosso hasn’t been featured in a major US exhibition in more than 50 years, since his 1963 show at the Museum of Modern Art in New York. Meanwhile, Brancusi’s “La Muse Endormie” (1913) is scheduled for auction at Christie’s for an estimated $20 to $30 million in a few weeks. Once the connection is made, it’s impossible not to see Rosso’s sculpture of the sick child in Brancusi’s bust with the same angular, lean features, Brancusi’s lovingly rendered muse reflecting the soft oblong face of the ailing youngster. Walking through the galleries at the Pulitzer, I kept thinking of the textures in Käthe Kollwitz’s charcoal portraits and woodcuts of abstracted, everyday suffering. How far-reaching was this unsung hero’s influence?

Medardo Rosso, “Henri Rouart” (late 1889–90), bronze, 67 15/16 x 27 15/16 x 19 11/16 in with pedestal, Kunstmuseum Winterthur, donated by the Galerieverein, 1964 (photograph by TeAnne Chartrau © 2016 Alise O’Brien Photography)

Medardo Rosso “Enfant au sein (Child at the Breast)” (late 1889–90), bronze, 19 3/4 x 17 3/4 x 7 7/8 in, Museo Medardo Rosso

Medardo Rosso: Experiments in Light and Form, installation view (photograph by Jim Corbett © 2016 Alise O’Brien Photography)

Rosso’s “Madame Noblet” (1897), cast in plaster, demonstrates how his work needs to be circumnavigated by the viewer to be appreciated in its fullness. The front of the sculpture, a figure rendered almost unrecognizable in clay, bears likeness to the emotionally charged charcoal gestures in portraits by Kollowitz. Long abrasions are left where the artist used his fingers to carve out big pieces of clay from the woman’s face. The form is even more voluptuously material from behind, where the figure of Madame Noblet has all but disappeared. The immediacy with which Rosso stacked blocks of clay to wrestle out an image is preserved in the cast. He was violently, unapologetically experimental, and the result is work that requires patience to fully appreciate.

Medardo Rosso, “Madame Noblet” (c. 1897–98), plaster, 25 1/2 x 20 3/4 x 18 in, Museo Medardo Rosso

The show’s title is didactic and self-evident, but it’s true that Rosso was obsessed with light and experimentation. The drawings and photos on view, many of which have never been exhibited before, offer glimpses into the artist’s vision for his works, which were created to be exhibited under obsessively strict lighting conditions. In his studio, Rosso cast and recast, exhibiting wax forms from lost-wax casts — what is normally “lost” in the process — as final works, purposefully creating unfinished edges and imperfections in bronze and plaster. He photographed or sketched the works over and over with different light, sometimes even photographing his own drawings and reprinting them with different papers and cropping.

Medardo Rosso, “Une conversation (A Conversation)” (1892–99), plaster, 13 3/4 x 26 1/4 x 16 in, Museo Medardo Rosso

Medardo Rosso: Experiments in Light and Form, installation view (photograph by TeAnne Chartrau © 2016 Alise O’Brien Photography)

Medardo Rosso: Experiments in Light and Form, installation view (© 2016 Alise O’Brien Photography)

These and many other secrets are revealed by Sharon Hecker and Tamara H. Schenkenberg’s curating, which deserves recognition for its restraint and precision. Museology tends to be an underappreciated art, because when exhibition design is at its finest, it goes unnoticed: The show opens up to the viewer and takes them by the hand, keeping them unaware that they’re being led. Here, the combination of Rosso’s humble sculptures — which demand a wide radius despite their subtle scale — Ando’s grand architecture, and Hecker and Schenkenberg’s curatorial vision made me want to dance around the museum, trying to see each piece from every possible angle.

The Pulitzer’s pitch-perfect galleries are a regional treasure, providing a strong argument for major exhibition spaces outside of crowded metropolises where space is expensive and galleries are often overhung as a result. When over-curating reigns supreme, both the artworks and the architecture can suffer catastrophically from a “the more the merrier” approach. Getting out of the city and discovering an exhibition space like the Pulitzer presenting such an outstanding show — and truly giving it room to breathe — is exciting for the possibilities of world-class institutions off the beaten path.

Medardo Rosso, “Ecce puer (Behold the Child)” (1906), bronze with plaster investment, 17 1/4 x 14 1/4 x 13 inches, private collection (photograph by Robert Pettus)

Medardo Rosso: Experiments in Light and Form, installation view (photograph by Jim Corbett © 2016 Alise O’Brien Photography)

Medardo Rosso: Experiments in Light and Form continues at the Pulitzer Arts Foundation (3716 Washington Boulevard) until May 13.

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