Members of the San Diego Feminist Image Group, Shoebox Projects and the Swedish Group Krogen Amerika present artworks that explore multiple visions of what feminism is today, in the context of Southern California and Northern Europe. Artists address the complexity of gender equality through themes such as sexism, body image, class, race, politics, spirituality, domesticity, biology, and history.
This exhibition will travel to Stockholm, Sweden in May 2018.
The public is invited to attend the opening reception on Sunday, February 25, from 3-6pm at Shoebox Projects in the Brewery Arts Complex, Los Angeles. Artists will be present to engage the public.
The Feminist Image Group was formed in 2009. FIG is a coalition of San Diego visual artists who meet to discuss art, see exhibitions, and support one another in our careers. We work across many media, including drawing, painting, photography, sculpture, installation, digital media and performance. The group has had exhibitions at San Diego Mesa College, Art Produce Gallery, Hyde Gallery at Grossmont College, Art San Diego Artfair, and has an upcoming exhibition at the Women’s Museum of California.
“Krogen Amerika” is the name of a Swedish printmaking group in the region of Östergötland in Sweden. The group works out of a a red wooden house from 1704 in the very center of the Swedish city of Linköping. During the years, it has functioned as a private home, a local pub, and a meeting place for emigrants to America (hence the name of the house, “Krogen Amerika”). Now it is a fully functional printmaking studio and art gallery. This artist-run gallery and studio space is partly funded by the city of Linköping. About 20 artists work here, and also together manage the space, with the support from the local community. The gallery exhibits artists from all over Sweden. Krogen America has exhibited as a group at Norrköpings Museum, Östergötlands Museum, Grafiska Sällskapet, the Palo Alto City Hall, Odense Konsthall Danmark, Berlin Kunstfactor.
Agneta Östlund, Amy Paul, Ann Olsen, Anna Stump, Anna Zappoli, Anne De Geer, Åsa Kvissberg, Berit Hammarbäck, Bhavna Mehta, Bibi Davidson, Caroline Färnström, Catherine Ruane, Cathy Immordino, Cecilia Uhlin, Chenhung Chen, Christina Ruthger,, Cindy Zimmerman, Dani Dodge, Daphne Hill, Diane Williams, Dwora Fried, Emily Blythe Jones, Emily Wiseman, Erika Lizée, Ginger Rosser, Grace Gray-Adams, Hannah Johansen, Hasti Radpoor, Helen Redman, Irene Abraham, Isabelle Nilsson, Jane Szabo, Janice Grinsell, Jeanne Dunn, Jennifer Bennett, Jenny Treece Jorup, JJ L’Heureux, Judy Christensen, Kathi McCord, Kathleen Mitchell, Kathy Miller, Kathy Nida, Kim Niehans, Kit Aaboe, Kristine Schomaker, Lauren Carrera, Lena Möller, Lena Wiklund, Linda Litteral, Linda Rae Coughlin, Lisa Hutton, Marina Holmberg, Moya Devine, Nilly Gill, Nurit Avesar, Petrina Cooper, Pia Göransson-Lie, Prudence Horne, Randi Leirnes, Randi Matushevitz, Samantha Fields, Samuelle Richardson, Sheli Silverio, Stacie Birky-Greene, Stephanie Bedwell, Susan Amorde, Susan Osborn, Susan T. Kurland, Terri Hughes-Oelrich, Terrilynn Quick, Yasmine Diaz
Artists can find themselves burning the candle at both ends at any point in their careers. Both emerging and established artists struggle managing time, money, marketing and productivity. Adding family obligations and outside employment to the mix increases stress resulting in potentially costly mistakes, repetitive efforts and missed opportunities.
It doesn’t have to be that way. For a price, there are services available to help lighten the load of artists.
The traditional route is gallery representation. Best case, your gallerist is a collaborator. Yet a gallery can be difficult to obtain and limited to its own brand and clientele.
Artists may seek out a public relations manager for more exposure. Or another alternative is obtaining a business manager. Those who are dedicated to visual artists can provide financial and career planning, social media management, support and workshops and connection to galleries and exhibitions.
“I decided to seek out management services because I felt like I needed help promoting my work,” Said California installation artist Erika Lizée (erikalizee.com). “I teach full time and am mother of two, so my time is stretched thin. The management services help me to stay focused on my art career goals, while
also helping me to feel more connected to the art world.”
Lizée is one of 18 contemporary artists who are clients of Los Angeles-based Shoebox PR (shoeboxpr.com).
She said the management company’s services have helped her gain press for her work, connected her to critics and writers that she normally would not have approached on her own as well as sending out calls for art- something she considers a great resource that aids her in finding new grants and exhibitions to apply for.
“In general, their services help to keep me on track and moving my career forward,” she said.
“Artists are seeking alternative ways of getting exposure,” Kristine Schomaker, director of Los Angeles-based Shoebox PR (shoeboxpr.com), said.
“A manager can help artists stay organized and direct them where to apply or show work,” Schomaker said. “The artist manager knows the art world. They can guide you through doors you had no idea where open.”
Also represented by Shoebox PR are artists Dani Dodge (danidodge.com) and Susan Amorde (susanamorde.com) who use Schomaker to promote their work.
Dodge relies on Schomaker for guidance when it comes to which shows to apply to and which to hold off on.
“This is invaluable when I have so many great opportunities in front of me and I’m like a kid in a candy store,” she said. “Kristine and I meet regularly to discuss my career and where it is headed. She also listens when I think I might need a certain kind of coverage and does everything she can to make it happen.”
Dodge said in the past she has paid mentors to help steer her career in the right direction but Shoebox PR is her first experience with a business manager.
STYLES AND PAY STRUCTURES
This help comes at a price. Shoebox PR offers services ranging from $100 for a subscription to its call for art/grant/residency list to $1800 for event/exhibition promotion. Its management package requires a monthly retainer of $900 a month and includes social media management, business coaching, marketing, event and exhibition public relations, workshops and more.
“We don’t work with percentages or commissions as our goals aren’t to sell the artist’s work, but to give them the resources and support to help them sell.” Schomaker said. “We aren’t dealers or consultants in that regard, but have worked with them in the past.”
It’s not unusual for a manager to take a percentage of retail sales rather than a flat fee, and the percentage and terms will vary from manager to manager, Leo Weinstein, co-owner of Weinstein Art Management (warm-art.net), said.
Weinstein and his wife, Julia, represent artists all over the world, charging 15 percent of the retail sale to cover management expenses.
The percentage can be significant depending on the sale price of the art, Leon Weinstein said.
He shared an experience where a longtime client’s paintings sold for under $5000 and just recently one was sold for $70,000.
“You can structure it in a different way – 30 percent of any money that are coming in to the artist’s way with a manager’s help and from his agreed exclusive territory,” Weinstein said.
Located in Woodland Hills, California, the couple market globally and offer specialty services in addition to publicity and career advice for their clients, which typically range from 35 to 40 artists at one time.
Weinstein seeks out retail opportunities for artists not only in galleries, but also auctions and licenses artists’ images for posters, limited-edition prints or merchandising.
“We are creating marketing materials, helping galleries to advertise and participating in organization of exhibition,” Weinstein said.
“We collect money, handle their visas to the U.S. when required and advise on a variety of other matters.”
The business started in 1989 whilst helping an artist from Georgia (formerly part of the U.S.S.R.) negotiate a long-term contract with a Japanese gallery. Soon they were representing artists in ex-communist countries who didn’t understand marketing, especially in the United States.
The Weinstein’s accept established as well as emerging artists for representation. They ask for at least 12 images to consider by email with a biography or a link to the artist’s website. Artists are judged by taste, ability to change and what Weinstein calls “sell-ability.”
“Just to receive advice is not good enough,” he said. “Like singers, actors and musicians, visual artists need guidance in how to present their art, to whole to present it, how to build credentials and what galleries, dealers or other art professionals not to work with.”
The Weinsteins collaborate with artists who work in realism, impressionism and photorealism art.
Leon Weinstein offered advice when seeking a business manager: “A good manager will help you by showing you great and successful artists who he wants you to study and understand what makes them popular.”
He added that together, the manager and artist can discuss the artist’s uniqueness that makes the work immediately recognizable and desirable.
To find such a gem, Weinstein suggested artists investigate potential managers to see who they represent, find out what artists have to say about them and visit galleries where they have placed their artists. Educate yourself before hiring their services.
BE CREATIVE WHEN CHOOSING MANAGEMENT
There is no one size fits all when it comes to business management. Some artists find success combining services from different sources for a custom fit.
Massachusetts artist Steve Lyons (stevelyonsart.com) hired a business mentor and personal friend to manage his day-to-day affairs, a studio assistant and several studio helpers for his day-to-day management. He hired an outside public relations firm to promote his work.
Lyons’ work is rooted in expressionism, and in 2016 he was recognized as one of the top five abstract expressionists painters in the world by American Art Awards, tied with artist Christine Alfery.
“As my career took off I knew that It was necessary to have someone do the day-to-day management and to look for and seize opportunities at other galleries and exhibitions – cultural center, museums, et cetera,” he said.
His current staff makes it possible for him to focus more on his paintings and spend more time with family, as well as seek out and secure venues for him in the U.S. and Europe.
He depends on PR for Artists (prforartists.com), a California-based public relations firm, for media exposure. PR for artists “Built interest in my creative life one publication at a time… They know what to do with information surrounding my life as a painter – whether it is announcing a recent award, new work or a new association with a gallery or exhibitor. That is a great relief,” Lyons said. PR for Artists cofounder Anthony Mora, said artists are charged a monthly retainer fee based on specific needs. Services include public relations, brand development and gallery representation.
Help with developing a prospectus and presentation to galleries is also available. Lyons said he works hand-in-hand with PR for Artists for many of his business and publicity decisions.
“The big decisions require communication between everyone involved in my career,” he said. “We often reach out to PR for Artists for their opinion about decisions, such as exhibitions and shows.”
Mora is the author of two books, Spin to Win: The Essential P.R. Guide for Business and Career Success and The Alchemy of Success: Marketing your Company/Career through the Power of the Media for Achieving Unlimited Success.
A few years ago, Mora and his vice president, Aubrie Wienholt, expanded his 1990 communications business Anthony Mora Communications, Inc., which focuses on authors, filmmakers, musicians and others, to include a division – PR for Artists – concentrating on fine visual artists.
“PR for Artists represents anywhere from 15 to 20 artists at a time and has helped clients be featured in media outlets such as Time, Newsweek, The Today Show and more,” he said.
“That helps stimulate interest and creates buzz. You can then use the media exposure in any and all of the marketing outreach.”
Before considering outside public relations, more recommends artists to do what marketing they can on their own.
“Create a website, get on social media.” He said. “Put their foot in the water. We can help them on all those fronts, but it’s important that we see the artist is making an effort to build a bridge between their art and their audience.”
Mora advices when looking for help, artists should find out exactly what services are being offered.
Look for someone who knows the field, but someone who they can then communicate with and talk to. “You want someone with a track record,” He said. “Someone who has worked in the field for a while.”
If you can’t hire a public relations company, start small by doing your own public relations.
“Do your homework and write a press release, create a media list and start reaching out to the media,” he said. “If you have some funds to invest in your marketing then do it. Don’t go it alone of you don’t have to, bring in a savvy team that is on your side, knows the media, knows how to present you and your work and is prepared to help take you and your career to the next level.” (PA)
7 TIPS TO FIND AND WORK WITH A MANAGER OR PR FIRM
1. Know what you want– Kristine Schomaker, owner of Shoebox PR in California, advises artists to have a clear idea of what they want a manager to do, to set a budget for public relations – be it for an exhibition or management – and have at least 15 to 20 pieces of work to present
2. You’ll still have to work – “Be prepared to work,” she said. “It could be photographing your work, applying to shows, doing interviews, traveling and more.”
3. Research the firm – Scrutinize websites and avoid those with too little information or who haven’t posted on social media in recent days, weeks or months.
4. Research the artists the firm represents – “Make sure the artists are legit, professional and serious… make sure a contract is in place.”
5. As friend for recommendations
6. Tap into social media– “Facebook especially is a great place to ask the collective hive mind for recommendations or information on specific artist management companies.”
7. Be easy to work with – “I can’t stress this enough. If you are easy to work with, curators and gallerists will want to work with you too.”
C.M. Schmidlkofer is a journalist who has been a staff reporter at newspapers throughout the Midwest including The Chicago Tribune. She has written for The Crafts Reporter, Fibromyalgia AWARE, National Paralegal Reporter and Stone Voices Magazine.
Curated by Kristine Schomaker
Sponsored by Shoebox PR
(submission details below)
“First, we marched. Now we Huddle. We will gather together in our neighborhoods all over the world to define our next steps, and envision how to transform the energy we saw at Women’s Marches into local and national action.
Huddle (n.) – a small group of people holding an informal conversation”
I was part of a recent huddle in Los Angeles. It was an amazing experience to feel like we aren’t alone in our thinking about the current political climate. We talked about what is going on in our country and what we could do to make a difference.
This is one of my next steps. I am curating a mail art show at Shoebox Projects in September 2017.
Exhibition Dates: September 18th to September 24th 2017
Reception: September 23rd 2017 3-6pm
Postmark deadline for submissions: August 21, 2017
Entry fee: $0
Media: All work must be on 4×6 inch postcard cardstock format and sent through the post office mail. Any work not following these guides will not be used.
Theme: Huddle. You are not alone. Show us how you #resist. We want to hear your voices.
Sales: All work is donated to the show and sold for $25 each. 100% of proceeds will be donated equally to the ACLU, Planned Parenthood and the Trevor Project.
(We are looking into having the show travel. You will not be getting your work back.)
We reserve the right to exclude work that we deem inappropriate.
Submit to: Kristine Schomaker c/o Shoebox Projects Huddle PO Box 86422 Los Angeles Ca 90086
Please share a photo of your postcard on instagram before you send it and use hashtags: #brainworkshuddle #womensmarch #huddle #resist #hearourvoice #whyimarch #imarchforequality #freedom #onelove #humanrights #wewontgoback #theresistance
(Long Beach) – For the last 12 years, the Greater Los Angeles MFA show (GLAMFA) brings together the best work of graduate students putting the spotlight on emerging trends in contemporary art. GLAMFA is organized and curated by CSULB students in the Cal State University Long Beach Art Galleries. From January 23 to February 1, 2017, twenty-eight MFA students from twelve of California’s best art schools will be taking part.
While not every artwork is California focused, the specific conditions in Greater Los Angeles certainly influence the way to look at the work as a whole. GLAMFA’s long list of artists shows an exceptional network of young artists and practices. The work seen in GLAMFA is both encouraging and crucial. The work shows the importance of educational time spent meditating on practice and theory and that each piece speaks to a critical moment in time for the artist and for art itself.
On opening night, CSULB students host an Open Studio event which allows visitors to see works from a broad range of genres. Opening night visitors can also look forward to a performance by UCSB student Emily Baker. A former gymnast, Emily’s work explores the body and the transience of athleticism.
This year, GLAMFA is pleased to bring back three alumni to discuss how their practice has evolved since grad school. Zackary Drucker (GLAMFA 2007), Patricia Fernandez (GLAMFA 2010), and Katie Shapiro (GLAMFA 2015) will each give a short talk on the evening of January 31st.
GLAMFA 2017 participating artists:
Chelsea Avarez, Gal Amiram, Yair Agmon, Emily Baker, Lyndsay Bloom, Cara Chan, Ashley Jan Gardner, Tanner Gilliland-Swetland, Audrey Hope, Angie Jennings, Emily Blythe Jones, Jennifer King, David Lucien Matheke, Ariel Mazariegos, Andrea Patrie, Jackie Rines, Justin Robinson, Doraelia Ruiz, Sunny Samuel, Janet Solval, Peter Sowinski, Omid Orouji, Hazel Straight, Christina Tsui, Shannon Willis, Stormy Wu, Sichong Xie, Drea Zlanabitnig
CSULB Open Studio Artists:
Rhiannon Aarons, Alice Andreini, Isabel Avila, Kelly Campanella, Stevan Dupus, Fred Eck, Joanie Ellen, Qingsheng Gao, Mimi Haddon, Shannon Leith, Katie Marshall, Patricia Martin, Narsiso C Martinez, Jesse Parrott, Justin Rightsell, Elena Roznovan, Cintia Segovia, Ashley Shumaker, Amy Williams, Patrick Williams, Lena Wolek
GLAMFA 2017 participating schools:
CSUN, UCLA, UC Santa Barbara, UC San Diego, Claremont, Cal Arts, Cal State Fullerton, Art Center, Azusa Pacific, Laguna College of Art & Design, Otis, and UC Irvine
2151 Logan Ave. Section B (alley entrance) San Diego, California
Opening reception: December 10, 2016 6 to 9 p.m.
On view December 10, 2016, to February 11, 2017
(San Diego) – Dani Dodge’s work confronts emotion. It invites people to write, to burn, to tear, to throw. It requires participants to reveal. “Afterfear” is an installation created from the ghosts of her exhibitions past.
Visitors are invited into a room to witness the remnants of fear, and contemplate, who are these residual ghosts? Are they us?
Dodge is a Los Angeles installation artist. Her work often incorporates interactive elements that require participants to reveal personal truths, and in doing so recognize our shared human frailties. She has burned people’s fears, thrown people’s burdens into the ocean, and typed people’s sins for the purpose of posting them publicly.
As part of shows in the past year, Dodge had invited people to tear the wallpaper off the walls and write their fears upon the scraps. Dodge burned those fears. What remained on these walls were abstract designs as deeper and deeper scraping revealed earlier and earlier vintages of wallpaper.
In “Afterfear,” the gallery walls will be covered with the remains of this torn vintage wallpaper, which has also been desecrated with graffiti. Other walls in the gallery will be built with glass bricks that encase the ashes of the fears burned in previous exhibitions.
Visitors to HB Punto Experimental will be invited to walk through these remains to a blank wall in the back. But to get there, they must navigate over and around a garden of totems—both abstract and figurative—which represent emotions explored in previous shows, including
burdens, sins, and failure. Dodge creates these totems from the antithesis of traditional red cedar: Styrofoam discards.
Once visitors reach the blank wall, they will write down what haunts them on slips of wallpaper and glue them to create a new wall. This new art, a creation of people’s specters, will be used again in a future exhibition.
“If we can never extinguish our fears, we have to learn to live among them,” Dodge said.
Dodge’s work is part of three museum collections, and she has solo shows scheduled in 2017 at the New Museum Los Gatos in Los Gatos, Calif., the Museum of Art and History in Lancaster, Calif., and A.I.R Gallery in Brooklyn, New York. http://www.DaniDodge.com