{"id":2231,"date":"2012-05-16T09:24:37","date_gmt":"2012-05-16T09:24:37","guid":{"rendered":"http:\/\/hip97.com\/wp\/?p=2231"},"modified":"2012-10-31T23:58:23","modified_gmt":"2012-10-31T15:58:23","slug":"ask-alexandra-portfolio-diversity","status":"publish","type":"post","link":"https:\/\/www.pikaland.com\/staging\/2012\/05\/16\/ask-alexandra-portfolio-diversity\/","title":{"rendered":"Ask Alexandra: Portfolio diversity"},"content":{"rendered":"\n

Remember that new column<\/a> I was talking about the other day? Alexandra has fished a question from a reader and let’s give her a warm welcome as she tackles the issue of multiple portfolios! (Want to ask Alexandra a question? Get in touch via the contact form!<\/a>)<\/em><\/p>\n

\"\"<\/p>\n

Hi Alexandra!<\/em><\/p>\n

I ask myself a lot lately \u2013 how diverse should a portfolio be?<\/em>
\nI am working with a lot of different materials, do installations as well, as classical fine art. Right now, I am putting work together, in an attempt to find a gallery overseas and in other cities than Berlin.<\/em><\/p>\n

Would it rather be smart to send only the relevant stuff? Meaning installations for dealers who specify on that and for others, the paintings? Or should I show a wider range of my work?<\/em><\/p>\n

Greetings from Berlin,<\/em>
\nAnnton<\/em><\/p>\n

—————————<\/p>\n

Hello Annton,<\/p>\n

Very good and tricky question.<\/p>\n

Generally:<\/strong> You should avoid to give a split impression as this could come out as if you haven\u2019t matured in your art yet. This is a question some artists really wrestle with now and then in their career (I\u2019m one of those) \u2013 and others not at all (weirdos!??). Illustrators writers , etc also wrestle with it. Somehow you feel you should be easily defined as an artist \u201cthat is work by Pablo Picasso\u201d, \u201cThat is work by Antonn Beate Schmidt\u201d. And for commercial purposes some gallerists may want to be able to pinpoint you, to describe you in a few sentences, even if there\u2019s much more behind your work.<\/p>\n

A clear style, an easy way to describe an artist:
\nCindy Sherman \u2013 she dresses up and takes photos of herself
\nChristo \u2013 wraps things up, outdoors
\nBotero \u2013 the one who paints those really chubby people with small hands and feet
\nModigliani<\/del> (whoops!)<\/em> Mondrian painted squares and used the colours black, white, blue, yellow and red<\/p>\n

So my advice is:<\/strong> don\u2019t show a wider range of work \u2026 unless you can connect it in some clear way.
\nThe question will then be if you could have two paralell careers going on; one working on installations and one with classical art? Probably not \u2026 That would mean double the administration, double the paperwork. You could try to approach both art worlds, and see where you get a positive reaction. But that would be not taking the decision yourself \u2026<\/p>\n

I think it is good to reflect over the reason for being diverse.<\/strong> Ask yourself why your art is diverse and how it is diverse. There could be different answers to this very question. Get some one to ask you questions about your art in case you have trouble doing it on your own. Someone who knows you might pose questions with insight. Depending on your answer \u2026 this could help you finding an answer on to how to present your portfolio and how to approach galleries.<\/p>\n

Here are some suggestions on reasons to\/ways to approach the diversity:<\/p>\n

You still haven\u2019t found what is you\/in an exploration phase.<\/strong> This can happen in the beginning of one\u2019s career but also when your in a phase of changing your art practice, in the process of changing materials or looking for a new approach. Does one way of expression feel more important? Does one way stick out compared to the other (more \u201cunique\u201d)? You might not be able to force yourself to chose right now \u2013 this is something that should grow on you. But start to ask yourself why you are diverse. Could it be that you feel, for example, that painting isn\u2019t very contemporary? Cecily Brown (nowadays a very famous painter) didn\u2019t paint for years because of that reason \u2026 but in her heart she was a painter.<\/p>\n

The theme\/idea is actually the same for the classical paintings and the installations.<\/strong> There are actually many contemporary artists who work in many different materials, but normally there is a uniting context behind the work (and thus the art can be described in a paragraph). Make it more obvious. Sometimes it is about how you present it – a different presentation can make it seem less diverse. Don\u2019t divide into installation\/painting \u2013 but under series\/themes and mix the different materials. Strive to find ways to unite it. Can you includes your more classical art work in your installations? A good artist statement and explaning texts to the installations is crucial here. (Do some research to find artists who do this. An example is The Chapman brothers, but there are many more).<\/p>\n

I don\u2019t want to limit myself.<\/strong> Art should be without limits. It could be that you really love to work in all different materials and that the theme behind isn\u2019t necessary the same. Try to see if you can find a framework, a broad idea that units it all. Example: Charles Avery, a scottish artist, working in different materials (drawings, installations and sculptures) creating the world of an imaginary place, an island. Avery has worked on his project The islanders for over a ten-year period.
\nAnother approach could be : construct the installations and then make classical paintings of them. And of course an artist statement explaining the thoughts.<\/p>\n

Working in one way can be thinking for the other way.<\/strong> I know of artists who show installations and performances, but in the privacy of their own studios they paint and draw in a way that would be considered classical. It\u2019s basically their way of reflecting and nothing that will be exhibited.<\/p>\n

And a final advice: less is more.<\/strong> When approaching a gallery Choose your very very best work only. Do not include work that isn\u2019t strong enough just because you want to show a context or because you would like to show a technique you master. If you doubt about an art piece \u2013 it\u2019s probably not one of your best. Five very strong art pieces is so much better to show than double the amount but mixed strong art pieces with \u201cregular\u201d art pieces. It could even be advisable to \u201csave\u201d one or two really good art pieces in case they want to see more. Then you can show more of your very best work and make an even better impression.<\/p>\n

Research how other artists do. A good book to get insight into how other artists think is \u201cSanctuary, Britain\u2019s Artists and their Studios\u201d<\/em> which is full of interviews. (I will soon review this book on my blog<\/a> on Sunday!)<\/em><\/p>\n

Good luck Antonn!
\nAlexandra<\/em><\/p>\n

————<\/p>\n

ABOUT<\/span> ALEXANDRA<\/span><\/strong><\/p>\n

Alexandra Hedberg<\/a> is a Swedish artist exhibiting frequently and making huge public commissions and shares her experience frequently via the series art as business on her blog<\/a>. She also teaches and moderates a self-paced class on Camp Pikaland called Art as a Business<\/a> for artists and illustrators who dream big!<\/p>\n","protected":false},"excerpt":{"rendered":"

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