Have you ever had the experience of walking into an exhibition and immediately being struck by lightning because the artist on view has work that looks like yours. I’m talking same material, same mode of presentation, same color choices. The underlying concept might be different, but the execution is similar to one’s own. Everything has been done. The downward spiral into self-doubt commences. (I’m talking about sculpture/installation, not painting).

Application deadlines for residencies, grad schools, grants etc. are starting to be due, now through January basically. I was curious if anyone who's been on any of these judging panels could tell both the criteria they used to guide them, and the actual system that's in place to judge such large quantities of applications. For instance, I’ve heard that there’s a system that ranks applicants on a scale of one to five, is that true?

I’m also curious if you tend to follow artists that you think are talented even if they’re not chosen for the program they’re applying to. How often does that happen? Do judges talk amongst themselves, or is most of the selection done privately? Are there unspoken rules or things that are generally understood amongst judging panels?

I’m assuming images are the most important element of the application, but how important are statements? Do you actually clock when people are using LLMs?

I guess I’m just curious about what the process actually looks like from the other side, and how much of it is as systematic vs. subjective as it seems from the applicant side.

I've been living in LA for almost a decade now and have had the opportunity to see it from both a place of privilege, as well as need and destitution. The marrow I found in the bone of the city, that surprised and engulfed me throughout my time on both sides of the aisle, is the vibrancy and diversity of artistic talent I've seen

Everything from performances at the Music Center's Taper theater to the Latin Jazz Festival LACC's music department held in the last days of spring. Even the local mural and graffiti work has its places like the 2nd Street Tunnel Burners that serve as a tollbooth to visitors headed downtown, showcasing merit on a massive scale. All around you can find traces of the dedication of LA's array of artistic talent.

So what's missing?

The heart is there. The product is there. The artist is there...but where exactly? Where do these elements live, collaborate, create, and play?

There are so many different competing mediums to manifest the work, but how many of them truly connect and serve the artist, the work, the audience, and the benefactors? Who is doing the best work modeling a sustainable model for artistic nourishment and growth within the city and it's people?

I want to create a roadmap for new emerging artist and arts administrators looking for creative license, artistic merit, mentorship, empowerment, and compensation for their contributions and the fruits of their development. More specifically rather than reinventing the wheel I'm asking you my colleagues to identify institutions and projects; artists and environments that in your opinion are the cornerstones of LA's artistic soul and supported manifestation.

Please identify what artistic form of expression you are referencing resources for so tha I can properly credit you as a collaborator on any final navigational system that gets developed from this thread and my research of Los Angeles public, private, professional, and amateur dialogue and presentations.

I'm not seeking cursory answers, but am interested at truly examining best practices and not just why they work. I want to know why they work in Los Angeles. As I believe environment has a huge impact on expression. It has a myriad of ways of providing source material, but somehow that material tends to revolve around a set number of inquiries and ideals of artistic beauty in the sense of harmony or lack there of.

I'm looking to apply to a cultural exchange fellowship grant that allows artists to immerse and explore in a foreign country. The application requires a proposal and budget for self-designed research/immersion over a period of 1-6 months. Possible activities they cite include museum visits, workshops, dialogue with local practitioners, etc. They're not funding for production of any sort, they're looking for cultural expansion and exchange.

Does anyone have experience writing a proposal for a similar fellowship? How does one streamline a cohesive proposal/plan? I'm looking for direction in how to write this beyond 'visit so-and-so national museum'. Of course I'd also need to do extensive research in the particular country I'd plan on visiting.

Any advise for the whole application process is also welcome!

The one I'm looking at specifically from Asian Cultural Council, if anyone's familiar. But I'd like to hear from anyone who has participated in similar.

Recently I went full time into painting, but I ma wondering how do you painters make money on the day to day?

Hi! Does anyone know of any good Patreon channels where I can learn contemporary painting or painting in general?

I’m mainly interested in styles other than realism, so I’d prefer to avoid channels focused primarily on realistic painting

Thanks!

Hey guys, I could really use some creative/artistic ideas.

I made an interactive website as an artwork for a competition. It’s about air pollution, and the whole point is that you’re supposed to experience it by playing through the website, clicking things, moving through different sections, hearing sounds, triggering interactions, etc. The interaction is basically part of the artwork.

I just found out that the submission platform doesn’t allow URLs. They do accept MP4s.

My first thought was just to screen-record myself going through the whole thing, but honestly it feels incredibly boring compared to actually experiencing it yourself. I tried recording a full playthrough and it also ended up being around 8 minutes, which is way too long for the submission.

So now I’m wondering: how would you translate an interactive artwork into a short video without making it feel like a website demo?

I want the MP4 itself to feel artistic and emotional, almost like its own experience, while still making the judges understand what it feels like to interact with the original piece.

Would you make it like a trailer? A very fast edited journey through the experience? Show the cursor/interactions? Mix screen recordings with close-ups/text/sound design? Build some kind of narrative around a person experiencing it?

Basically: if you had 1–3 minutes to make judges feel an interactive artwork about air pollution rather than just watch documentation of it, what would you do?

Would love any weird / experimental ideas too. I really don’t want to submit a boring screen recording 😭

Hello. Asking this a little bit out of desperation, because I am urgently seeking hope.

Does anyone have any advice for first-gen artists who come from an immigrant background, have no generational wealth, and have a family who is entirely opposed to their decision to become an artist?

Has anyone experienced this? If so, have you been able to overcome the odds and establish a career for yourself? How have you handled your family’s disapproval, and have you been able to continue to have a relationship with them? Please, only people from multicultural backgrounds who understand intergenerational households answer.

Since I was a child, Parent 1 has been ruthless in taking me down, particularly when it came to my artistic achievements (I am in therapy). Parent 2, though less cruel, still staunchly believes that I am making a Huge Mistake choosing to pursue art. When I entered uni, I received a unique art scholarship that covered everything & then some for me to attend, and I naively thought this could somehow prove to my parents that I had what it took to ‘be an Artist.’ Since then, I've collected my share of small achievements and opportunities, all the while working a boring salaried day job to appease them. Despite this, their naysaying has only worsened. They will frequently make fun of my work and remind me that 'people like us don't become artists,' and for better or worse, I can't help but feel that it's true. I chose not to enroll in an MFA program this year because of a lack of funding. I know artists supported by their parents and while it's nice to talk to them about practice, my talk about finances are often met with blank stares, woo woo BS, or worse, embarrassment. When I talk to established old heads, it becomes clear they had a degree of parental support as well, and can't relate to my circumstance. Is there anyone here who has experienced this? Should I stay the course and believe in the dream, or am I really just doing everything wrong? If you got this far, thanks for taking the time to read.

Hi guys, im looking for advice on how to connect with European and American art scene as someone with no connections (im not a nepo baby). i have experienced armed conflict in my country and was involved in it for a time but i escaped and now im making art while i do a day job.

I studied in uni but i havent finished it because of economic and political crises.

i studied works that have been exhibited in various galleries in the west, and I can say my work can compete (sorry for the term i dont know what word would be more apt) formally and conceptually.

i would be grateful for any leads or advice or experiences you may share!

Hey everyone,

I’m writing this to see if anyone else here was a member of Archive (the decentralized art-buying collective/community that operated around 2023).

They were basically a group that pooled community funds to buy contemporary art—I remember them making a big deal about buying a piece at Feria Material in CDMX, Mexico, back in 2023, that's how I got to know them and joined. We used to communicate on Discord, and then one day, without a single word of warning, the project went totally inactive, the organizers vanished, and the Discord was silent for months.

To be completely honest, looking back, the whole initiative felt incredibly privileged and "Americanized" from the start. Even though they marketed themselves as this multi-national, inclusive community, the events they threw in Mexico City felt strange and exclusionary, like locals didn't actually belong unless they fit into a very specific, wealthy expat/tech-bubble mold.

Realizing they just went completely off the grid without telling the members anything just confirms that vibe for me. It feels like when the Web3/crypto funding dried up, the founders just walked away from the "community", but the pieces of art they bought were physical, so I wonder what happened to them and who owns them now, since they were supposed to belong to the collective.

Did anyone else here belong to Archive? 

Does any one know what actually happened to the art we bought? 

Who was actually running this? Does anyone know the real identities or wallets behind the multi-sig/treasury?

We are going to be in the area so it might be good to see something.

Hi! I'm an art writer trying to land a few features I have to pitch, except my CV isn't the most highbrow. I am young, know how to sell myself, and have lots of bylines, so I want to land more stories in mid- and lower-circulation publications before I can reach for Artforum or Frieze magazine one day. I was wondering what indie art publications you are reading. What up-and-coming journals have been catching your eye? What's the newest art magazine that you have spotted at your favorite stockist? Thank you!

[Note: I am based in the U.S., so I am looking for journals looking for stories about artists and shows in the U.S.]

Hello! I am a rising senior with experience in the modern and contemporary art world. I would like to apply to some rotational programs at auction houses but I have seen no listings. Does anyone know what time of year these applications open?

Mainly a question for artists who have made it to mid career and beyond… I’m working with a dream gallery of mine and I’m so thrilled. I also look around and see a lot of artists working with multiple galleries and I’m curious how that actually happens. When other galleries reach out, I feel so honored but like any relationship I don’t want to be disloyal by straying. I feel like I might be in a great upswing moment right now (I know those don’t last long for artists) and I don’t want it to end. I don’t know if the right path is doubling down with one gallery or opening myself to any opportunity that comes. If a gallery of equal size gets in touch, would my dealers ever entertain showing with them or is that something the artist pushes for?

I really enjoy it when artists resist categorization and find way to express their ideas through multiple channels. Off the top of my head, I think of Mike Kelley and Lutz Bacher. Both worked in so many mediums, they resisted categories such as painter or sculptor. Who are some contemporary artists who work in multiple mediums?

Someone has an artistic practice that consists of creating software that is distributed without limit (there's no limit to the number of copies they distribute). There's no apparent difference between their works purchased and those exhibited at festivals, events, and museums...

How is this type of work considered in the contemporary art world? I'm relatively new to the contemporary art scene, I'm just asking.

I have to send portfolios quite often as a painter to galleries, art advisors, for projects, residencies, grants etc. Obviously I adapt them depending on who I’m sending them to, but I’m still never sure about the length.

How many pages do you think is a good amount? And how far back would you go with the work, mainly the last 2–3 years, or show a wider development?

I also find exhibition views can sometimes say much more than another 5 individual work images.

And then next to CV there’s bio, artist statement, portraitphoto, contact (email, website , IG) I usually include some them, but it also might appear cool to stay more minimal.

Even if nothing is really repeating, a very complete portfolio can somehow start to feel a bit needy to me. Maybe less actually looks more confident?

Same question with price lists when sending work to galleries or art advisors. do you normally keep those very short and current as well, or give a broader overview of available works?

Curious how other artists handle this, and also what people on the receiving side actually prefer.

I’ve been making and showing my work for almost 20 years now. I got into the commercial art world like 10 years ago. I’ve had critical acclaim, good press in all the right places, shown with respectable emerging galleries, but it still feel so grassroots to me. I can’t breakthrough to that higher tier that leads to blue chip land. For the past four years, I finally started selling my work (once I started making paintings and stopped making less commercial work).

I have a part-time job. I have a studio. I have overhead. I average like $20K a year after I cover my overhead and pay my taxes. I’m getting old. I think a lot of people would look at me and think I’m lucky or I’ve succeeded and in some ways I have, but the mile is so long.

I feel so overlooked by so many institutions and higher level galleries. Other people seem to have an easier time breaking through. I know my work is good, people like it and respond to it. I just can’t seem to get past that tipping point. I just feel invisible in so many ways.

Not sure if it’s worth trying more. At this point, I don’t need any more cultural validation. I just need more money and sales. I actually don’t care about showing a museums or anything like that. I think it’s all rigged up anyway, curators are 99% lemmings, but I know that it’s important and that I have to in order to “Affirm my market” so I obviously need it but curators have 0 interest in me

Hey everyone,

I applied for the Arteles residency program for Jan–Mar 2027 (studying art in Finland has been a major dream/goal of mine for a while!).

During application, the info stated that results would be out in September. However, I saw someone mention yesterday that they already received an acceptance email. Since my inbox is still completely silent, I’m getting super anxious and starting to prepare myself for a rejection letter.

Has anyone else here applied for the same period and received an update (either acceptance or waitlist)?

I’m just hoping to get some clarity so I can either move on and nurse my heartbreak over the weekend, instead of dragging this anxiety into next week, haha. 🥲

Thanks in advance, and fingers crossed for everyone who applied!

I've loved her work and didn't realize she was that old

I’m an arts writer and cultural critic from Buenos Aires, Argentina trying to get featured in art magazines such as Hyperallergic, Elephant and Spike. Does it make sense to pitch a review of an exhibition shown in Buenos Aires? Are there any tips on how to get noticed by editors or reach publication by any means when you are not even based in the same country and belong to a whole other art circuit? I am also very interested in writing broader cultural commentary, which could be of more interest than local exhibitions -even though I’d love seeing them get international coverage. So I would appreciate getting tips on how to pitch both and advice on how to get access given my situation