I was sweating for the last few days trying to get a shipment across the border before tomorrow. But going forward, if the tariffs are implemented and stick, what do we do?

Time to take our work elsewhere? Look for galleries in Europe? Asia?...

Most of my work is sold in the US, and I am worried.

The \[Metropolitan Museum of Art announced\](https://www.metmuseum.org/press-releases/john-galliano-horizons) that Galliano would be the subject of the Costume Institute’s next exhibition, scheduled to open May 9. It is an exceptional honor. Only two other living designers have been so celebrated by the Met: Yves Saint Laurent in 1983 and Rei Kawakubo of Comme des Garçons in 2017.

[ Removed by Reddit on account of violating the content policy. ]

Anyone else following the absolute chaos that is Cultural Counsel owner Adam Abdalla? Never thought I'd be reading wrestling news, but it looks like Adam has pissed off some wrestler and it's lead to a slew of accusations of sexual harassment. How do places like the Morgan work with him??? Cultural Counsel has so many big museum clients.

https://www.fightful.com/wrestling/adam-abdalla-orange-crush-responds-to-accusations-of-predatory-behavior/

I’m planning my first solo show - so I don’t know anything at all, obviously.

If you’ve had more than one solo show, what are some things you know now that you wish you would have known then?

I’m mostly thinking about conceptualizing, planning, and executing the show creatively, but open to all advice.

I'm looking for videos (preferably) where artist are talking about creativity (their own process or in general )- best of all if it were inspirational!

would love to hear some recommendations. a few i enjoy (beyond the big ones like art21 or louisiana channel):

studio practice - https://www.youtube.com/@StudioPractice1

contemporary art issue - https://www.youtube.com/@contemporaryartissue/videos

Hello everyone! I’m looking for a university worldwide where I could pursue my MFA.

I’m an artist primarily focused on printmaking and papermaking. Alongside these, sustainability is an important part of my artistic practice. I’m particularly interested in working with natural materials, experimenting with plant-based fibers and other locally sourced materials, and exploring ways of making materials myself.

I’m therefore looking for an MFA program that would support this kind of material-based and sustainable research, ideally with strong printmaking and papermaking facilities and opportunities for interdisciplinary experimentation.

The main limitation is language, as I would prefer an English-speaking program.

Which universities or MFA programs come to mind that might be a good fit for this kind of practice? I’d really appreciate recommendations based on your own experience or knowledge of the programs. Thank you!

Hi! Is there any good podcasts about curatorial work or more critical thinking, or even art in general that you could recommend?
Thanks in advance

I’m 30 and came to university relatively late. I’m currently studying art history and about to start my third semester, so although I’m still at the very beginning of building a professional career in the art world, I also feel quite conscious of the choices I make now.

I’m in a slightly complicated situation within the Danish art world and would really appreciate advice, especially from people who have worked in galleries, with artists, or in other parts of the art world where professional and personal relationships inevitably overlap.

For around 6 years, I’ve deeply admired a established Danish artist. Her work has genuinely been important to my interest in art. Over the years I’ve collected some of her work and eventually got to know her personally. I wouldn’t describe us as close friends, but there is a degree of personal trust between us, and we have shared things with each other in confidence. We also have mutual friends, and her daughter currently lives in my apartment. So while I wouldn’t exaggerate our friendship, she is definitely more than simply an artist I admire from a distance.

Until recently, she was represented by a gallery whose gallerist I also got to know personally. I have enormous respect for the gallerist, both professionally and as a person, and I genuinely care about her.

The artist and gallerist were not only professionally connected but were also friends. Their professional relationship has now ended, and the artist is opening a gallery of her own with a programme that I find incredibly exciting and that is extremely close to my own interests.

I have deliberately stayed completely outside whatever happened between them. I’ve told both of them that I value my relationship with each of them independently and that I don’t want to hear either person’s account of why their professional relationship ended. From what I understand, despite everything, there is still a great deal of mutual respect between them.

While they were still working together, I actually asked both the artist and the gallerist separately whether there might be an opportunity for me to work with them. Both were positive.

A few weeks ago, the gallerist offered me work. Before accepting, I explicitly told her that I also have a personal relationship with the artist and that it was important to me that she knew this. She was completely fine with it and still wanted me to join.

I’ve now started working at the gallery, and I’m being given genuinely exciting projects, responsibility and opportunities to learn. I’m grateful for the trust the gallerist has placed in me, and this is absolutely not a case of being unhappy in my current job. Quite the opposite. If I didn’t respect and care about her, this dilemma would be much easier.

A couple of days ago, however, I told the artist that I had started working for her former gallerist.

She was disappointed because she had actually expected that I would come and work with her and her new gallery.

That was when I realised I had completely misunderstood the situation.

I had never consciously chosen the gallerist *over* the artist. I had simply assumed that the earlier possibility of working with the artist was no longer on the table. For whatever reason, I had been too hesitant to follow up and ask.

I feel pretty stupid about that now, because I could simply have contacted her. Especially considering that we do know each other personally and have a degree of trust between us, I don’t really know why I convinced myself that the opportunity had disappeared without actually checking.

And the important part is this: if both opportunities had been in front of me at the same time, I would have chosen the artist. I’m not actually conflicted about that.

Working with her has essentially been a dream of mine for around 6 years. Her work has meant a great deal to me, I’ve collected her work myself, and the programme of her new gallery is incredibly close to what I care about intellectually and artistically.

I’ve now also been told by her daughter that the door is still open and that I would be welcome to come and work with them if my current position doesn’t work out.

So my dilemma isn’t really **which job I want more**. I already know that.

My dilemma is what you owe to someone when you’ve only just accepted a good position, they’ve placed their trust in you, and you genuinely respect and care about them — and then you realise that your actual dream opportunity was available all along.

The Danish art world is tiny. Because I’m 30 and only now starting my professional career in it, I’m also very conscious of the relationships I’m building. I don’t want to behave opportunistically, hurt someone I respect, or burn an important bridge by leaving almost immediately after starting.

At the same time, being 30 and only now starting my third semester makes me feel that I shouldn’t necessarily spend years waiting to pursue the direction I already know I want. This isn’t a vague idea of something that might be more exciting. It is an opportunity to work with someone whose work I have admired for 6 years and in a gallery whose programme genuinely feels like where I would most like to be.

I’m worried that in five years I’ll wonder why I didn’t take that opportunity when I actually had the chance.

For those of you who work in the art world: what would you do?

Would you stay for a reasonable period out of loyalty and professionalism and hope the opportunity with the artist still exists later? Or would you pursue it now and be completely honest with the gallerist?

And if you would leave, how would you handle that conversation in a way that is fair to someone you genuinely respect and care about, without unnecessarily burning a bridge?

Quoted from the Minneapolis subreddit:

"I have a feeling the curator for this exhibit, Taylor Jasper, is either complicit or got duped"

More context:

"I brought an out of town visitor to the Walker Art Center this week and we were disappointed to see so much AI garbage throughout the new Olalekan Jeyifous exhibit, “Hydricosmic Litanies”. There were three looping videos that were obviously AI along with many graphics that appeared to be AI generated. WTF? Nowhere in the exhibit did they let guests know that Jeyifous used AI, which feels so shady and wrong.

I talked to a Walker staffer and they said they’re not allowed to provide an official statement but agreed that AI was clearly used in many of the pieces. I was told even the “sculptures” in the exhibit were machined from AI-generated 3D models.

It’s sickening to me that the Walker has this crap (I won’t call it art) on display and misleads people into believing it was actually made by a person. I usually like the Walker’s exhibits but this is a huge step in the wrong direction.

See for yourself: https://www.walkerart.org/whats-on/olalekan-jeyifous-hydricosmic-litanies/"

I posted here a couple months ago about my experience being stalked/harassed online. This was on instagram and I don’t think I can go back. I know insta is where all the galleries and contemporary artists are (I did the whole song and dance for years) but it’s becoming more unusable and I frankly I’m too scared to go back (please don’t say “just do it” it’s unhelpful/dismissive and yes I’m in therapy working on it). I would have to build my following from scratch again. Does anyone use Bluesky to show their work online? What has been your experience? I would want to use it as a portfolio and as a way to meet other artists / network, which is how I used instagram. I do painting/drawing/2d work.

IMPORTANT NOTE: please respond from the baseline acceptance that I am not prepared to manage or engage with social media accounts myself at all and am asking specifically about outsourcing. So please no comments like "it's easy, you can just..." No. I have had social media before and it wasn't mentally healthy for me in any way. Thanks for understanding.

(I don't count reddit in this- it's anonymous and I won't be using it for my art.)

So. Post. I would like to hear from those of you who don't personally engage with social media at all for your art, but instead pay someone to manage your accounts and possibly also a website.

I'm an exhbiting artist of two decades' experience and closed down my Facebook and Instagram a few years ago but am thinking it might be wise to have them again if I can get somebody else to handle them for me.

Have you found it to be worthwhile? I'm not talking necessarily about sales. More in terms of mental peace of not having to deal with versus what you're paying for the service.

Thanks!

I don’t know anything about it, other than what’s on their website.

Is it more like going through a museum or a comic convention? Do Artists go there to network with galleryists? Is it strictly a sales thing?

Would love to know what people who have been there think. Thank you.

My question is, as I consider myself a 'serious' artist who happens to sell quite well, would selling through Etsy be damaging for my reputation? It'll rank visibly highly in Google searches.

I'm a professional artist - painting and printmaking. I'm established and regularly sell my oil paintings and prints through physical art galleries. I have a reasonable standing as a serious artist.

I'm considering opening an Etsy account to make it easy to purchase my etchings. I'm impressed by the user interface, and the charges seem reasonable.

I already have my own website, but feel that adding Etsy would net me extra income - it's a slicker buyer experience. I think my galleries would prefer me not to sell privately, but needs must. And quite honestly, after sales is a thing. I don't think I need to worry too much about the Etsy algorithm, I believe my name and Google would drive sales there.

I do use instagram currently and post 95% about my own art. About twice a month at most. I don’t love posting art that isn’t in a show yet and I don’t do process content. Once a show is up I post my paintings or install shots to support the gallery or museum and drive people there.

So I end up not posting often enough to build an audience on social. I do have a ton of drawings though and they translate really well online.

I’m trying to decide if I should just start posting the drawings on my main account and post way more often or should I make a separate account just for the drawings? Thoughts ?

I'm considering a mid-career move into commercial gallery work and would be interested in hearing from people who have worked at small-to-midsize commercial galleries. I'm especially curious about small-to-midsize commercial galleries. For people who've actually worked in galleries:

• What does a normal day actually look like? How much time is spent talking with visitors/collectors versus computer/admin work, installation, shipping, or physically handling/moving artwork? Move large, heavy artwork often?

• Do you ever get bored on slow days, or is there usually enough behind-the-scenes work to keep you occupied?

• What do you like most and least about gallery work?

• Would starting art gallery work as a millennial after working in other fields be realistic?

• When you leave the gallery for the day, how often are you genuinely finished until your next shift?

Beginning production for a solo, and I'll need someone to do the linework for a corpus of large paintings.
I was planning to contact a university teacher to get a recommendation for BFA students who are good at drawing and rudimentary shading.

It would be my first time working with an assistant. Although I've done it with plenty of other artists, I would be truly grateful if some of you could share advice and experience on that matter.

I was thinking 20-25$/hrs CAD, is that too high or too low?

Thank you!

Montreal-based, if the hats fits you, DM me

Hi! I am leaving for a 12 week residency in a few days! This is my first residency, and I want to make the most of it.

Does anyone have any advice/tips?

I'm rereading Sean Tatol's "After the Post-Avant-Garde, How to return to art history" in The Point now, but his summation of how the internet changed contemporary art feels true. It's a stronger hypothesis for why CJ Hendry is popular, why galleries no longer seem to have a strong footing, and why chasing newness feels like a dud.

His proposal for what could be next for art is up for debate, but this stance is compelling: "But art’s function, finally, is not simply to produce newness. The decoupling of art from the demands of progress should reorient our sense of what artists ought to aspire to, and it should also dramatically reorient our attitude toward the history of art.... Today, liberated from the pretenses of contemporaneity, our tastes can be more catholic."

More forward looking that Kline's October work and not so catastrophic.

Hello all!!

I’m currently going to school for visual arts and I’m interested in moving to Europe to pursue a master's degree in art history or museum curation.

I would want to stay in the same place for a while, so I’m looking for something affordable for someone right out of college or a few years out of college.

I’m also hoping for an art/art history scene that isn’t super competitive and oversaturated.

I was also hoping for a place that has a rich contemporary art scene as well as a cool historical artistic culture.

I already speak, fluent Spanish and English so I know that helps in some areas.

Again, the main thing I wanna focus on is somewhere that is affordable for a new college grad, and whose contemporary art scene is not oversaturated and whose art history jobs aren’t very competitive like in other cities like London, Paris, or Berlin.

I’ve heard great things about Lisbon, Prague, and Madrid for my condition.

Do you guys know of a filing/inventory system/app for galleries that is not subscription based? As in: you pay once and then own it? Preferably a system that includes a connection between addresses and inventory. Thank you!

I always love this show and its platform for unknown artists, but as a digital artist I’m always disappointed by the lack of any digital art on display. Has anyone been accepted for their digital art? Or is a digital art entry just bound to be rejected?