Call For Artists
Note to artists: until our platform is optimized, ideal entry size is 1080x1080 (square)
Feb 22nd - Mar 1st
Light & Dark Art Challenge Begins
All medium light and dark art challenge begins online starting February 22nd 2019. Join us this week for art exposure and the chance to win art materials! Click the link above to enter and check out this weeks video for more info.
Creating Light With Patrick Ethen
I'm a light artist and designer exploring the intersection of technology and humanity, the relation between analog and digital systems, and the mechanisms of mesmerization. I use light to represent levels of actuation, and simple rules to generate emergent behavior. The result is a stream of continuously new pattern and textural information within a consistent data structure. I make physical objects because I value real world experiences, real phenomena.
Receiving light is a visceral experience which is able to impact us emotionally, and my aim is to pull on these strings.
I'm particularly inspired by the samizdat from Infinite Jest, by our biological constraints, by DNA replication, EMDR machines, and evolution. For the past year and a half I've been a resident with Texture Detroit, designing stages and dance environments for the underground music community. All electronics are wired by hand in Detroit, Michigan.
WATCH More Featured Artists
Ghana born & Detroit based artist Patrick Quarm, creates amazing works of art that resonate pattern and texture through vibrancy of color. Using paint and African print fabric, Patrick Quarm translates his form of identity and culture through his mixed media practices. Check out more of his work here.
Hauthous.com steps into the studio of Detroit based artist Bird Chow David McGuffie. He is our guest judge this week in the Color & Line Challenge. For more art by David and links to our weekly call for artist opportunities, check out the links here.
Looking for something that's not here?
Pattern & Texture
February 15th 2019
Ghana born & Detroit based artist Patrick Quarm, creates amazing works of art that resonate pattern and texture through vibrancy of color. Using paint and African print fabric, Patrick Quarm translates his form of identity and culture through his mixed media practices.
Patrick Quarm graduated from the Kwame Nkrumah University of Science and Technology (2012) with a BFA in Painting. He is currently pursuing a Masters of Fine Art degree at Texas Tech University (Lubbock, TX).
Learn more about Patrick through the video below to experience how he uses pattern and texture throughout his beautiful work. And of course check out more of his works through the links provided here.
Art By: PAOLO GRASSINO
Making Contact with Art Galleries: How to Do it Right
Provided By ArtBusiness.com
February 1st 2019.
Understanding the value of a solid presentation.
Art By: ALEJANDRO PEREDA
Art galleries and dealers are continually deluged with requests from artists to get involved with their art in one way or another either by showing it, selling it, representing it, critiquing it or otherwise helping them advance in their careers. They make contact by email, phone, in person, by mail, through friends, and so on. Unfortunately, a substantial percentage of these attempts fall far short of what galleries require from any artist who is approaching them about their art.
One critical mistake artists often make is offering little or no information about either themselves or their art other than maybe including a few images of their work or providing links to their websites or image pages. Another common error is failing to give reasons, specifically relating to whatever gallery or dealer they're contacting, about why they're contacting them in the first place, and even more importantly, why they should take time out of their busy schedules to spend time reviewing their work, let alone respond. In other words, many of these requests amount to little more than "Look at my art" or "Do something for me," with hardly any information or explanations about what's in it for those galleries if they do. It's your responsibility-- while keeping your inquiry concise and to the point, and abiding by a gallery's submission guidelines if they have them-- to explain exactly why you're making contact and what's in it for them to consider your art. If you can't come up with a really good reason that has the gallery's best interests in mind, don't bother contacting them.
Once you've established your purpose in making contact, the most important details to provide are specifics about your art-- not all of your art, but your most recent work, what you're currently producing or working on, not everything you've ever created.
Limit it to the types of work that you feel are relevant to that gallery. Briefly mention how you think they fit in with the art and artists the gallery already shows, and give your reasons why. If a gallery asks, be prepared to tell them approximately how many pieces you have completed and currently available for sale, how many more you expect to complete and about how long it will take to complete them. Additional details are also helpful to have on hand like dimensions, mediums and price ranges (the best way to handle these is to make sure they're easily accessible on your website or image pages). Don't inundate a gallery with information or images of older art, art that has nothing to do with what they show, or art that you've already shown at other venues. Galleries tend not to want work that's been hanging around your studio for a while or that has failed to sell elsewhere. They want to see your newest, freshest and best stuff.
Make sure you have your pricing act together. Are your prices net to you or are they retail prices that you and the gallery split? You don't necessarily have to go into specifics early on, but at least be clear on what ranges your art generally sells in if the question comes up. The reason for talking prices at certain points in a conversation is that any gallery you contact needs to know whether those dollar amounts fall within the range they typically sell art in. For example, if a gallery typically sells work in the $15000-$20000 price range and your art typically sells in the $800-$1200 range, then the gallery will likely not be interested in your art (why you would be contacting them in the first place makes little sense).
You can now make a decent income from your crafts. There is an opportunity to sell art around the world for little or no upfront costs. You no longer have to rely on galleries or hire someone to promote and sell your art.
Art By: Hank China
Integrating Art & Design With Matt LeBarre
Hauthous Featured Artist
February 1st 2019
Experience how professional artist Matt LeBarre uses artistic talent to design beautiful products.
Trained as an illustrator and working as a commercial artist, Matt LeBarr talks about his inspirations throughout his artistic transformation.
I was trained in art school just before digital illustration really took hold so my early work was mostly using traditional medium. I would use any medium freely but I tended to use gouache, acrylic and pastels regularly. It was soon after I was working in a Detroit art studio that I fell in love with Adobe Illustrator. Over the next ten years or so my portfolio transformed into a purely vector-based collection of work. Of course, I’m not a stranger to traditional mediums but only recently with my Totem sculptures have I started working with actual brushes and paint again on a regular basis.
My inspiration tends to come from fond memories of my childhood as well as creators/designers that have moved popular culture in new, modern directions. It’s impossible not be influenced by the creative world around us. It’s equally impossible to not include your own influence into the work you create. My work has always embraced the marriage of both.
In elementary school we would have to read books and write a “book report”. I always had more fun creating illustrations for the report than the actual writing of the assignment. I guess I could always get ideas across better visually than I could using the written word.
“A painting requires a little mystery, some vagueness, some fantasy. When you always make your meaning perfectly plain you end up boring people.”