TELL ME A STORY: Proximity

Continuing my series for Fine Art Views on using story hooks in your publicity and self-promotion…

I just figured out how to republish my Fine Art Views articles here! Duh…..

Tell Me a Story: Proximity
by Luann Udell

In short, the world is a pretty big place. But it’s still made up of countless communities. These days, our communities are far more than just the people who live near us. Take another look at yours. See if there’s a group who’d love to hear more about what you’re up to. […]

This post is by Luann Udell, regular contributing author for FineArtViews.  Luann also writes a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explores the funnier side of her life in craft.  She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry).  Her work has appeared in books, magazines and newspapers across the country and she is a published writer.  She’s blogged since 2002 about the business side–and the spiritual inside–of art.  She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….” You should submit an article and share your views as a guest author by clicking here.

A quick look back… Some people protested the validity of using ‘sex and romance’ as a story hook. As I said, it’s not for everyone. But here’s an example of how powerful this story hook can be: Andrew Wyeth and the ‘Helga’ Chronicles

As Mr. Knight points out, this story was so huge, it went ‘viral’ in pre-Internet days!

Let’s take the conversation back to safer ground, and talk about proximity as a story hook.

We use the proximity hook for a story that’s physically close to home. It’s why I run a press release in my local newspaper when I’m having an open studio. I want local people to know about it—my customers who live nearby and potential new customers. My customers who live four, five or ten hours away aren’t likely to attend, even if they want to.

And local people are the most likely to be interested because it’s…well….local! We’re always interested in things that take place in ‘our own back yard’.

That’s why most newspapers and radio stations will readily run a press release about a local event. They know it will be of interest to their readers.

Some artists don’t send press releases to their local paper. “People around here don’t buy art,” they claim, or “My customers don’t live here” or other reasons. I contend that people know other people and people pass on items to other friends who might be interested.

True story: I emailed an open studio notice to all my customers, even those who lived out-of-state. One out-of-state customer immediately called her friend—who lived in my town—to tell her friend to attend. That local woman is now a friend and a valued customer.

Another, more subtle reason to publicize yourself locally—it establishes your credibility and credentials as an artist.

And another true story: I was an at-home mother with no job when I started my art. I was known as ‘Jon’s wife’ or “Robin’s mother.’ After achieving some success with my work, I felt comfortable telling people, when asked for my profession, that I was an artist. But since anyone could say that, I sensed some folks took that with a grain of salt.

I began to send announcements to our local newspaper whenever a piece was selected for an exhibition or for publication. I announced when an article was published or when I received an award. Within a couple of years, I noticed I was now being introduced as a ‘famous artist’.

I still treasure the other titles, but I like the new addition.

Now, a proximity story hook is low-hanging fruit—it’s easy to get publicity just because you live ‘here’. The question is, just how far afield can we take proximity?

Consider: Where else do you ‘live’?

Consider other communities and homes we are part of.

‘Local’ is relative.

For our region, Keene is ‘local’. But for our state, the Monadnock region is local, so I can target regional newspapers for certain stories. My state is local for New England. And so on. I wouldn’t submit a release for an open studio to a national media. But I would if they were focusing on stories from New Hampshire or New England.

Former communities count.

My home town is a community. People in Gladwin, Michigan are always happy to see a local girl made good! I’ve sent press releases newspapers in my home town paper and others where I used to live.

My college is a community. As an alumni, I sometimes send press releases to my university’s art history and education departments.

People are communities.

My friends and family are a community, though they live all over the country—and world. Email and Facebook are good ways to let them know my news. Friends lead to friends-of-friends and the wave continues.

My customers, galleries and reps are a community. They all have a vested interest in my success. They’re delighted to hear about each honor and achievement. They want to hear about my new work, exhibitions, shows and good press I’ve received.

Peers are communities.

I subscribe to many professional and trade publications. Some of my news releases would be appropriate for them.

I belong to certain professional organizations, for craftspeople, polymer artists, jewelry artists. Ditto art and craft forums and other online communities. If I achieve some honor or win an award, these are also communities who would be interested.

My special interests are communities.

I volunteer for several organizations. My volunteer community and the organizations we work for are other potential audiences.

I’ve had articles and artwork images picked up by horse riding publications; boat magazines (my fish wall hangings!); archeology publications, etc. I sometimes post news to a group that collects antique trade beads.

In short, the world is a pretty big place. But it’s still made up of countless communities. These days, our communities are far more than just the people who live near us. Take another look at yours. See if there’s a group who’d love to hear more about what you’re up to.

And as always, be sure to share your unique communities here, too!

You can also read this at:
Tell Me A Story: Proximity

———————————————-
This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).

For a complimentary subscription, visit: Fine Art Views

HOW TO SOUND SMARTER THAN EVERYBODY ELSE

Artist statement resources for the folks who are smarter/better/more educated/more sophisticated/more talented than me.

Short story:
It’s our choice. We can make the commitment to say something meaningful and compelling about our work.

Or we can stick with the attitude that people need to educate themselves in order to really appreciate our work.

I’ve been writing a series of articles for Fine Art Views newsletter about how to punch up your stories–Your artist statement, your artist bio/cv, your press releases. This series, TELL ME A STORY, starts here. The second article is here:, and the next two will appear June 23 and July 7, 2011. Mark your calendars! (Or just subscribe to Fine Art Views newsletter–it’s free!)

Some people are ready to hear this stuff. Others, not so much. When I get resistance, I hear one of two things:

“Can’t you just give me a template, and let me fill in the blanks?”
or
“I really think art critics, galleries and art-collecting audiences want something more….sophisticated than a ‘story’.”

Well, say no more! If this is what you want, I’ve found just the tools for you.

This tongue-in-cheek artist statement template-driven generator by 10Gallon.com is perfect for those who just want to fill in the blanks. My first attempt resulted in this distinctively different artist statement:

Through my work I attempt to examine the phenomenon of Quick Draw McGraw as a methaphorical interpretation of both Georgia O’Keefe and fixing people.

What began as a personal journey of frackism has translated into images of cookies and arms that resonate with Caucasian people to question their own aquamarineness.

My mixed media dog images embody an idiosyncratic view of Billy Graham, yet the familiar imagery allows for a connection between Janis Joplin, cats and french fries.

My work is in the private collection of Darrin McGavin who said ‘Yeow!! That’s some real shapely Art.’

I am a recipient of a grant from Folsom Prison where I served time for stealing mugs and tie clips from the gift shop of The Peabody Museum. I have exhibited in group shows at McDonald’s and the Pucker Gallery in Boston, MA, though not at the same time. I currently spend my time between my den and Berlin.

I’m sure with a little practice, you could get something a little less silly.

For the academically-minded crowd, this artist statement writing tool site from Gurney Journey will surely appeal. It’s actually easier to use than the previous one. No need to even fill in the blanks! Try it. It’s a handy little exercise to create a bang-up, very academic-sounding artist statement in no time flat. All you have to do is combine any items from three different lists, and voila! An artist statement that is sure to start a spirited discussion about your work among the (g)literati.

But for those who don’t even have time to read through the lists, there’s more! This totally mindless automatic artist statement generator it sooooo easy, you don’t have to do anything except click on a tab.

My first result using the Arty Bollocks Generator was promising:

My work explores the relationship between the body and skateboard ethics.

With influences as diverse as Wittgenstein and John Lennon, new combinations are crafted from both simple and complex layers.

Ever since I was a student I have been fascinated by the ephemeral nature of meaning. What starts out as triumph soon becomes corroded into a tragedy of power, leaving only a sense of decadence and the possibility of a new reality.

As shifting phenomena become frozen through boundaried and diverse practice, the viewer is left with an insight into the limits of our era.

Hmmmmm. Not…quite. So I tried again. I got a message that said I was a little hard to please, and this new statement:

My work explores the relationship between new class identities and midlife subcultures.

With influences as diverse as Wittgenstein and John Lennon, new synergies are generated from both simple and complex textures.

Ever since I was a teenager I have been fascinated by the ephemeral nature of meaning. What starts out as vision soon becomes corrupted into a dialectic of greed, leaving only a sense of what could have been and the prospect of a new beginning.

As temporal impressions become clarified through emergent and diverse practice, the viewer is left with an impression of the inaccuracies of our era.

I still wasn’t satisfied (and the ABG got a little crabby), but I persisted. I clicked the tab again and came up with this one:

My work explores the relationship between postmodern discourse and urban spaces.

With influences as diverse as Nietzsche and Andy Warhol, new synergies are crafted from both simple and complex textures.

Ever since I was a child I have been fascinated by the theoretical limits of relationships. What starts out as hope soon becomes debased into a tragedy of temptation, leaving only a sense of chaos and the inevitability of a new beginning.

As shifting forms become clarified through boundaried and diverse practice, the viewer is left with a statement of the edges of our condition.

Wow! Pretty good! But why settle for pretty good when I can have the best? My next try resulted in this one:

My work explores the relationship between emerging sexualities and urban spaces.

With influences as diverse as Kierkegaard and Francis Bacon, new combinations are created from both explicit and implicit layers.

Ever since I was a student I have been fascinated by the traditional understanding of relationships. What starts out as triumph soon becomes debased into a tragedy of lust, leaving only a sense of decadence and the inevitability of a new synthesis.

As spatial impressions become frozen through diligent and personal practice, the viewer is left with a glimpse of the inaccuracies of our world.

The ABG grumbled that I was a bit of a perfectionist, but I just couldn’t resist one more try:

My work explores the relationship between postmodern discourse and recycling culture.

With influences as diverse as Blake and Roy Lichtenstein, new tensions are created from both traditional and modern textures.

Ever since I was a teenager I have been fascinated by the theoretical limits of meaning. What starts out as hope soon becomes debased into a cacophony of lust, leaving only a sense of decadence and the prospect of a new reality.

As temporal phenomena become transformed through emergent and diverse practice, the viewer is left with an impression of the edges of our future.

I decided to quit while I was ahead, and told the Arty Bollocks Generator, “Enough already.”

Yep, I had a good laugh. But the scary thing about these very tongue-in-cheek exercises?

These actually sound like real artist statements..

I’m not highly educated, but I do have an MA. And half the time, when I read these ‘sophisticated statements’, I have no idea what the person is talking about. Are these really the things they lie awake nights thinking about? ( Me? I tend to lie awake trying to remember if I let the cats in.)

Remember–It’s our choice.

We can stick with the attitude that people need to educate themselves in order to really appreciate our work.

(Let us know how that works for ya, okay?)

We can try to sound like every other artist who wants to sound intellectual, academic, and obtuse.

Or we can do some work. Get real. Get sincere.

Say what is in our hearts.

We can strive to say something meaningful and compelling about our art that anyone can understand.