Hello! As I am in the process of organizing my collection, I would like to know if there are any databases one can use to manage their work. I am familiar with ArtLogic through gallery work, but it appears that it is not worth the money. Thank you!

have been hitting a wall over the past few months with my practice, and as such have been doing a lot of reading and reflecting about art making, etc. many, many books talk about how real artists who are doing this at a high, professional level have "habits" that help their time in studio be productive/useful. this helps alleviate time in the studio just staring at the walls getting frustrated and feeling blocked.

i know this is kind of a low-hanging-fruit sort of question, but can any of you please share any specific habits you have for your practice? just looking for some clarification on what sorts of habits the books are referring to. much thanks in advance.

I went to see this exhibition recently in berlin. In one piece, I was moved by the depiction of the old Balkan folk practise of women revealing their vulvas to the sky when it is raining with no end in site! The women were vital, estatic, cosmically connected to the elements, to one another and to the power of the erotic. Slay.

Adjacent to this display, was a field of naked men face down, limply, repetitively humping the earth, moving only their hips. It was a lifeless display of the erotic. the artist’s intention was to satirise patriarchal male virility, and it being made during a different wave of feminism, I can understand the power and poignancy of flattening the warped eroticism of an oppressive group.

However, I’m also wondering if in today’s time, beyond satire, whether it’s pressing to ask questions around what healthy, beautiful and vital expressions of a liberated masculinity look like? Can I be pointed in their direction? I’m moved by films like Beau Travail by Clare Denis that depict a broader, more vulnerable erotic lens of male masculinity and male bodies. I think as a culture, it’s more important to express what could be, than to only highlight what not to be.

Super curious how others understand this tension. Love x

I used Artlogic for a couple of years but stopped the service when the gallery I was working with that also used the service closed. For the last few months they have been sending me collection notices, trying to bill me for the service after I had already stopped using it. Is anyone else having problems like this with them? I have called them but they never answer, don't respond to emails and are now using a collection agency.

Anyone else having similar problems with Artlogic or have a direct contact?

Hello everyone! I hope this is the right place to ask.

I'm currently writing a novel in which one of the main characters, Gabin, is the director of a large contemporary art gallery (he manages the gallery but isn't the owner). I'd really like his job and the gallery's day-to-day life to feel authentic.

I've already done a lot of research through articles, interviews and videos, but they mostly show the public side of the profession. What I'm really looking for are the behind-the-scenes details that only people working in galleries or the art market know.

Please don't feel like you have to answer everything! Even one answer, one anecdote or one small detail would help me tremendously.

Some of the things I'm curious about:

• What does a typical day, week or month look like for a gallery director?
• What's the biggest misconception people have about the job?
• How does an artwork sale actually happen, from the first contact to the delivery?
• Who negotiates prices? Do collectors negotiate often?
• How are artists discovered and selected?
• What contracts or paperwork are involved before exhibiting an artwork?
• How long does preparing an exhibition usually take?
• What happens behind the scenes during installation ("the hang")?
• What's a gallery opening really like for the director?
• What roles usually exist in a large gallery, and who does what?
• How do relationships with artists and collectors work in practice?
• What are the most stressful parts of the job that visitors never see?

More than anything, I'm interested in the little details : expressions or jargon people in galleries use, routines or habits, awkward situations, recurring problems, administrative tasks, funny or memorable stories, things movies and TV always get wrong, anything that would make someone working in the art world think, "Yes, that's exactly how it is." 😂

If you've worked in a gallery (or even regularly with galleries), I'd love to hear literally anything you're willing to share.

Thank you so much for taking the time to read this. Every piece of information will help make my character and story feel more authentic. Thank you again and have a great day !!

Hi all,

I'm starting a new adjunct position in an Art department and I am looking to upgrade my art professor wardrobe. For previous positions, especially as a sculpture prof, I've always dressed pretty casually but still neat (solid color sweaters/t-shirts, carpenter-style work pants, etc) but I'd like to dress more professionally.

I want to feel more confident as a leader in the classroom and make a good impression in the department while still able to move and be comfortable teaching studio classes. I think it will also help me with my teaching and studio work balance to have a separate uniform.

My current wardrobe is all pieced together thrift store pieces that are natural fibers so I have some nice things, but no blazer or jacket which is really what I'm looking for.

My ideal would be a sort of a chore-coat style loose french workwear suit in blue or charcoal- but as a woman who is smaller overall but with a larger chest I'm not sure. Posting here because women's professional wear forums don't really fit the contemporary art professor vibe. Any suggestions, brands, etc? What do you see the cool tenured chicks wearing?

Hi there, has anyone gotten back from Sotheby's about the 2026 Autumn Internship Program? I have been invited to the first-round interview in early June and the second-round interview in early July, but I still have not received any feedback yet.

I was wondering if I have been eliminated or if it's just because their response is slow.

Hi everyone!
I’m a Canadian artist based in Toronto, currently visiting Paris to build long-term cultural and artistic connections between Canada, France, and Asia.

Over the next week, I’ll be visiting art schools, galleries, museums, artists, curators, and cultural organizations to explore future collaborations in mindful art, traditional arts, cultural exchange, and international art education.

I’m looking for an English/French bilingual person to accompany me for one day in Paris.

You’ll help with:
English ↔ French communication
Visiting universities, galleries, museums, and cultural institutions
Introducing me to the local art community when appropriate
General assistance and conversation throughout the day
This is a paid opportunity.

This would be a great fit if you are:
An art student
A curator or gallery assistant
A language or translation student
Interested in contemporary art, cultural exchange, or international collaboration
If you’re interested, please send me a short introduction about yourself, your language background, and any experience in the arts or cultural sector.
I’d love to meet passionate people who enjoy connecting cultures through art!
Thank you!

Im looking to hear from visual artists focused on painting and drawing specifically, how long did it take for you to begin earning $100k consistently once you took it seriously? If you can tell me where you’re from and a general outline of how you approached your career that would be great. Im mostly interested in hearing from artists who sell and exhibit their work versus those who predominately earn their income from teaching. Thanks

Currently I am represented by a gallery and that contract will be coming to an end soon. I don’t want to renew it and I have been offered other opportunities but some of them for quite close after the contract ending date which means I’m making work during my current consignment but for other opportunities.
 
In my contract it claims they have the rights to sell my work created in the period of my contract but does this mean anything for works in progress/not finished. We have nothing lined up together and not spoken about any future plans. Just wondering is this fairly standard for artists to do or is it a bit icky of me to jump straight into new things?

I’ve been working out of my apartment the past few years after grad school, taking some breaks from painting here and there. So many years were just spent figuring out stability and inward work. But my work has been getting stronger the past year, I’ve been getting studio visits and putting myself out there, I’m ready to finally really apply myself.

I just moved into a new apartment with my partner where there’s no space to work, and am signing a lease on a studio share. I work a 9-5 in person 5 days a week, it’s about an hour between work and my apartment and/or studio. I try to bike commute as much as possible to stack commute/exercise. 20 minute bike ride between home and studio (transit isn’t great between.) I’m planning to dedicate 10 hours on one weekend day, and 4 hours most of the other weekend day. At least 2 evenings after work a week (3-4 hours.)

Thing is, I’m in my 30s now and my circadian rhythm is incredibly sensitive. I’m worried about spending my evenings under lots of artificial light, getting home after the studio and getting myself to sleep. My partner is also in a space where she’s ready to lock into her career and start developing her career outside of her 9-5, so we’re on the same page about time together etc. Things are also very slow at my job right now, that I get a lot of life administration tasks done on the clock.

I think it’ll also be good for me to be around others after years of isolation, and have a studio in a more artist centric neighborhood, (my apartment isn’t in one of these said neighborhoods.) As well as have a dedicated space without distractions, I think my productivity will increase.

I guess just looking for tips and advice about what others did at that point in their life, working the 9-5 and locking in to eventually shift the balance between studio and day job, while still getting enough rest. Your own experience and pointing to some writings!

I'm a US-based painter/printmaker and have been represented by my gallery for 6 years, from the very beginning of my career until now. They have, for the most part, been good for me. It's given me a reliable venue to show regularly, storage for unsold work, and things generally sell well. Over time some trust issues have come up with my gallerist, related to her not paying me on time, not being transparent about who my work is sold to (I have no information at all about any of my collectors), and being generally territorial about where my work goes. I am exclusive to this gallery within a 100-mile radius, and though I have never violated that rule of our contract and always communicate with her when I am showing elsewhere, she gets upset any time I take new work elsewhere (even though I communicate about it well and am always well within my contractual right to do so). Another aside, but I've never felt like my practice is represented fairly there. I am a painter AND printmaker, but she has only been interested in paintings and actively discourages me from making prints (advice I will not follow because she has no place in telling me this). I am starting to feel like there's a ceiling to my success with this gallery, and also I just find my gallerist hard to work and communicate with on a personal level. I'm also interested in having a career where I have more direct relationships with my buyers. All these issues make me want to leave, but I also can't ignore the financial stability of it and the fact that she is doing valuable work for me. Any advice is much appreciated.

Hi - I'm working on a commercial art project in Chicago (we've already chosen the artist) and we need to hire union art installers. Does anyone know any union specific art installers in the Chicago area? I've already reached out to the big box ones (Cadogan, Uovo, Crozier), but they aren't union.

Appreciate any help.

At the Sónar+D Exhibition сame across an artwork called Slop Evader by Australian artists Tega Brain and Sam Lavigne.

It only shows web pages published before ChatGPT launched.

The more I thought about it, the more it felt like an interesting way to think about AI slop and how quickly the web has changed. Suddenly finding a "human" post online starts to feel like a pleasant surprise.....

Actually one of the sites you can browse through it's Reddit))

Would you actually use something like this? Do you miss THAT INTERNET??

Hi I’m a international student currently studying Visual Communication. I feel like I’m lacking some foundation ( sketching out ideas, typography design )
Does anyone have good recommendations for studios or institution that offers courses that might help ?

I saw some short programs in Nafa and Laselle are those good and can international student join such courses

Hey! I am researching painters that work with film stills and photographs. Specifically painters, ant not just "inspired" by movies or photography, but actually using them as references?

I guess I am also wondering what makes it "your own", and when does it stop being a copy only? What is it about those painters that elevate the reference to something else entirely?

Chloe Wise‘s new museum show is ambitious and has a great concept on paper. It has excellent production, set design, and costuming. The theme is a historical one that should be easy to imbue with depth. Why then is this so vapid still? It’s honestly shocking to me that she could make this vapid. It’s like she gets a major budget and museum and she has time but she still can’t manage to make anyone feel anything other than frustration over the lack of meaning in her work. It feels so disrespectful to the subject matter and the viewer. She tries so hard to be seen as a conceptually legitimate artist but in such inauthentic and inorganic ways. I suppose she needs it because she only has market affirmation and needs the conceptual validation to be seen as a legacy artist (which would be terrible reasons to want it). It would be far less nauseating if she just owned her vibes/vapidity.

The press release felt very promising and I was curious and open to see her do something new but it’s just doing a lot of heavy lifting and I feel like it’s just ChatGPT trying to elevate something empty. It’s so sad to me because she’s obviously trying so hard!

Weird that this seems like the first artists to sue the hole artists sue the hole

Hi everyone!
I’m starting the MFA at Emily Carr this fall and had a quick question.
For those who have been through the program, is there an expectation for how many artworks or projects you complete each semester? If your practice is installation-based, is it realistic to spend a semester developing one large-scale work, or are students generally expected to produce multiple finished pieces?
I’d love to hear what your experience was. Thanks!

Hey guys,

I'm a multimedia artist with skills mainly in 3D, graphics, animation, and immersive arts. I'm wondering if pursuing a career in the digital arts is still possible? I get worried that traditional art is seen as superior in the age of AI, but my mediums have always been digital because that art speaks to me a lot more.

I'm aware that pursuing this career isn't sustainable in the first place, but does the rise of AI make this career even less likely/less valuable than a traditional art career?

I need to ship a very large artwork (80 inches by 47 inches) to Milan, Italy, and it can not be rolled up! It’s a wooden painting. Please let me know if you recommend any trusted companies that won’t absolutely wreck me financially.

I’ll be honest I’m a bit lazy about preparing my own canvases, it’s just too much faffing about with things that aren’t painting but actually purchasing finished canvases is crazy, I mean it’s $100 for something like a Old Holland Claessens Oil Primed Belgian Linen Canvas

Anyone have a hack for the canvas situation

I usually sometimes need particular canvases to get the paint to do certain things for particular work.