TarraWarra Museum of Art’s Post

Here it is! My findings from the Margate Artist Almanac 🙌 Margate’s creative scene has been shifting dramatically over the past few decades, but who are the artists and organisations coming in and out of the town? The Margate Artist Almanac is about celebrating who’s here, and taking a deeper dive into what they do. As the town’s artist population ebbs and flows, the Almanac is about starting a conversation and documenting who’s who. Led by artists, the Almanac is a non-commercial project that seeks to provide an on-going historic snapshot, database and resource for artists, creatives and organisations. The project is alive and moving — we know you’re not all on this list! If you, or someone else you know, wants to be included please go to https://lnkd.in/evNqTjVs. It is open to anyone who has a creative practice based in Margate, as well as those who have previously lived and worked here. Entries are welcome from: 🎨 all artists and creatives currently based in Margate, or who have lived and worked in Margate at some point 🎨 all independent producers or curators based in Margate, or who have lived and worked in Margate at some point 🎨 all of Margate’s art organisations (including galleries, venues, studios), past and present A huge shout out to everyone who has already filled out the online form and contributed to the Almanac 🙌

Art Prizes artist survey No surprises about the decision points for artists when it comes to deciding which art prizes to enter: cost of entry, cost of commission and cost of transporting the works. Q1 - it all comes down to the perceived value for entering the prize. 57% of artists said they wouldn’t enter an art prize based on one of the following - entry fee or shipping fee. 11% said they wouldn’t enter if the prize had a poor reputation. Q3 - this is of particular interest to me when working with advertisers and we have to nominate which link to direct artists to. 37% of artists prefer to go directly to the Landing Page for the prize and 37% would go directly to the Ts&Cs for the prize. Surprisingly, to me, only 24% of artists wanted to go directly to the entry form. Q4 - asks if you would enter a prize within the first 14 days of the Call in return for a discount on the entry form. 75% of artists would enter earlier for a discount. Art prize organisers should take note if they wish to mitigate the rush of entries in the final week of the campaign. Conclusions: art prize administrators could more readily reach their objectives by offering early bird discounts, reaching agreements with art couriers to offer artists discounted deliveries, and improving the visibility of the Ts&Cs for their prize. Thank you to all of the artists who responded to the survey. Read more topics on our blog @ https://lnkd.in/gUDrDyur #artistsoninstagram #artistsonlinkedin #australianartist #artprize #artcurators #museums #artgalleries

The recent passing of Richard Serra (1938 - 2024) has not only sparked reflections on his life and work but also underscored the urgency surrounding the proper management of artists' legacies. Serra's final show, "Six Large Drawings," at David Zwirner’s London gallery, was meticulously planned before his death, ensuring that his vision would be preserved. However, the stewardship of an artist’s legacy comes with a complex set of responsibilities, encompassing moral, legal, and financial considerations. In the past, managing artist estates primarily involved authenticating artworks and preserving the artist's reputation. However, we're now witnessing a shift towards a more comprehensive approach to managing artist legacies, which includes actively participating in the art market. Recent high-stakes lawsuits, such as the one involving the Andy Warhol Foundation for the Visual Arts, have highlighted the challenges faced by those managing artist estates. These legal battles underscore the importance of careful estate planning to ensure an artist's wishes are respected and their legacy preserved. The legacy of an artist like Richard Serra deserves careful consideration and planning to ensure that his contributions to the art world are properly preserved and celebrated for generations to come. https://lnkd.in/eghKCvMD #artistestate #artmarket #RichardSerra #estateplanning

Important consideration for future of art estate management.

🌟 Bridging the Gap: Understanding the Challenges Faced by Art Professionals 🌟 As artists, our focus often remains on the creative process, pouring our hearts and souls into our work. However, behind every successful art exhibition, there are various professionals facing a unique set of challenges that many of us may not fully appreciate. While artists are driven by creativity and expression, gallery owners, art curators, cultural agents, and art promoters must navigate the complex world of business, curation, and promotion. This contrast in mindset can sometimes lead to misunderstandings and miscommunications between artists and these professionals. Read more here: https://lnkd.in/e7YuDFcG

Should the Visual Artists Rights Act (Vara) expand its scope to protect the work of contemporary artists? This question may arise when reading the article "Has a US law created to safeguard artists' work backfired" by Daniel Grant. The article discusses a lawsuit that took place over the summer between the land artwork Greenwood Pond: Double Site by Mary Miss and the Des Moines Art Center. The dispute was over the artwork's deterioration due to natural elements, which led to the artwork being decommissioned. The judge ultimately ruled in favor of Mary Miss, stating that the artwork could not be destroyed without her consent, but allowed the museum to decide whether it was cost-effective to maintain the artwork. Additionally, the artwork did not meet the criteria within Vara. According to Daniel H. Weiner, "Judge Locher’s view that Greenwood Pond: Double Site does not constitute sculpture is the result of his overly constrained application of that law in this case." Although the case's outcome has not been finalized, it highlights the broader discussion of the limitations posed by the Visual Artists Rights Act.

ARTISTIC HUBS in and of the Arab Region Beirut, OIB (Orient-Institut Beirut), 3-5 June I will be presenting on DAY ONE (Monday, 3 June 2024) in PANEL 2: BEIRUT AS AN ARTISTIC HUB (15:00-17:00). My presentation is titled "“Those days, the heart of Beirut was beating very hard”: The Sursock Museum as an Artistic Hub of Elsewhere". The panel will be with Monique Bellan, Flavia Malusardi, and Venetia Porter, and chaired by Saleh Barakat (Agial and Saleh Barakat Gallery). LAWHA’s international conference “Artistic Hubs in and of the Arab Region” starts from the perception that Beirut of the 1950s to 1970s is often referred to as the Arab capital of culture, in its so-called “Golden Age” – a notion that is increasingly put into a wider perspective –, and thinks about who might have taken on this role. We look at what makes cities draw artists and intellectuals over a period of time, and what makes things shift or change. We look at how, why and when things shift, and what role different cities have played over time. For whom has Beirut been relevant, and for whom not? What role did Baghdad play on a regional level? Has the Gulf succeeded in becoming a hub? To what extent can a city outside the region act as an artistic hub of the region? The conference examines who different hubs speak to, and which actors and initiatives are central in attracting artists and intellectuals. It aims to conceptualize the pull and push factors of artistic hubs in and of the Arab region. In-person only, all are welcome to attend. Find out more:

As the art collector base expands, there is a need to formalise ethical engagement with artists and institutions. Such a Code is an excellent guide for navigating collecting art in a manner that respects the art ecosystem and all the professions and relationships one invariably builds in the process. The Code of Conduct for Art Collectors comprises 47 principles and standards grouped into seven distinct themes: - Read Part 2 of Code of Conduct for art collectors. Link Below https://lnkd.in/dSR3A_C8

NEW ARTICLE FROM OUR ART AND MUSEUMS TEAM 🎨   A new decision from the Supreme Court of Tasmania draws the line between illegal discrimination and lawful promotion of equal opportunity in the art sector.   In April 2024, a Tasmanian administrative tribunal found that the art installation “The Ladies Lounge” at the Mona - Museum of Old and New Art in Hobart, Tasmania, constituted illegal discrimination against men.   The reason was simple enough: men were not allowed entry into the Ladies Lounge. 🙅 Thus, the museum was ordered to stop refusing entry to those who did not identify as “ladies”.   This ruling has now been quashed by the Tasmanian Supreme Court.   In this article, we summarize the background of the case and the Supreme Court’s key findings. A link to the full judgment is available at the end of the article. ⚖️

Given that we have entered the last week of the application deadline for the 29th Slavonian Biennial, "Institute of the Invisible, Spaces of Perception", and to remind you of the deadline (August 31 at midnight), here are some FAQs (frequently asked questions): 1. Who can apply for the call? All artists can apply regardless of their place of birth, place of residence or place of work. Each artist can submit one work (which can consist of several parts) to the call. It is not necessary that you are from Slavonia, although that is not an obstacle either 😉. The call is international and everyone is welcome to apply. 2. Does my work have to fit into the title? The exhibition of the 29th Slavonian Biennial is a thematic exhibition called "Institute of the Invisible". This is the curatorial frame of the exhibition - thereby inviting artists to offer their opinion. That aside - it is not intended to be taken literally (unless you have such an idea) as homework. 3. Does the work have to be of a certain size or material? No, artists submit their work at their own discretion, along with all required documents for submission, as you can find at www.mlu.hr 4. How to register? Digitally, via e-mail biennale@mlu.hr 5. When will I know the results of the call? The results of the competition will be announced in late September, after the first session of the judging panel/jury. 6. What is the registration fee for participating in the competition? 0 Euros. The Slavonian Biennial has never had, nor will it have in the foreseeable future, a registration fee for artists. For any additional questions, please contact the curator, i.e. me 😃 - I'm accommodating and willing to answer all doubts - that is, if I've had my morning coffee 😉. The visual is signed by Igor Kuduz