URUSAN DUA

URUSANDUA adalah sebuah jaringan organisasi seni dua negara Indonesia-Malaysia yang di inisiasikan oleh Mimie Baharuddin (Ruang Sementara, Kuala Lumpur) berkolaborasi dengan Hendra Himawan (WASH, Yogyakarta) yang berfokus pada sistem kerja managerial seni dan proses kreatif dari seniman muda. 

Menggabungkan dua disiplin praktis, pengurusan seni dan kuratorial, URUSANDUA bekerja dari wilayah teknis, administratif, hingga wacana. Merangkul seniman muda untuk berdialog tentang proses kreatif mereka, membangun sistem studio yang integratif, menemukan gagasan dan rumusan kerja artistik, serta mempublikasikan hasil karya seniman muda melalui strategi-strategi presentasi karya yang komunikatif. 

URUSANDUA merancang mekanisme kerja bersama antara seniman, pengurus seni, kurator dalam satu sistem proses kreatif yang integral dan strategik. Kerja kolaborasi dua disiplin ilmu, dari dua lembaga seni di dua negara, menjadi satu platform URUSANDUA untuk membangun jaringan wacana, komunikasi antara perupa muda dua negara, sirkulasi pengetahuan dan jaringan publikasi karya antara Malaysia-Indonesia khususnya, Asia Tenggara, dan industri seni antarabangsa secara umumnya. 

Contact

B-2-12, Block B Jalan PJU1A/20A
Dataran Ara Damansara 47301 
Petaling Jaya, Selangor, Malaysia

urusandua@gmail.com

www.urusandua.com

+6 012 303 4410 Mimie Baharuddin (Kuala Lumpur)

+62 819 1532 5594 Hendra Himawan (Yogyakarta)

Mimie Baharuddin: Malay Mail 28 August 2016

Ajim Juxta co-founded Titik Merah with several fellow artists. – Photos by Choo Choy May

On the Publika art trail

BY VIVIAN CHONG

KUALA LUMPUR, Aug 28 — Kuala Lumpur’s art enthusiasts are familiar with White Box and Black Box, two spaces at Publika that regularly host exhibitions, film screenings, workshops and other creative expressions. But did you know that there are more artistic hot spots within Publika? Specifically, it is home to eight art galleries, each with its distinctive focus and approach.

To the uninitiated, art galleries can come across as intimidating, perhaps even elitist and exclusive. If I don’t know art all that well, you may think to yourself, I probably shouldn’t even step in. Or if you’re not an art buyer or collector, is it worth your time visiting them?

Haris Rashid chatting with participants about his Humanimal series at Artemis ArtS. Jamal Al-Idrus introducing his gallery, Artemis ArtPublika has long been a favourite haunt of Kuala Lumpur’s art loversThe Publika Art Walk, an initiative of MAP KL which manages White Box and Black Box, is meant to break down those inhibitions and is meant for everyone, whether you’re an art aficionado on the hunt for the next masterpiece or simply have an interest in the local art scene. After a successful debut in April, the second Art Walk took place earlier this month and was led by Mimie Baharuddin, the former Gallery Manager of HOM Art Trans, an independent artist-run space. In curating this walk, Mimie emphasised the unique direction and focus that each gallery takes.

Artemis Art

Lot 21 & 22, Level G4, Block C5 Tel 03-6211 1891

Opens 11am-7pm, Tue-Sun; Mondays by appointment onlyhttps://www.facebook.com/ArtemisArt.KL/

Owners S. Jamal Al-Idrus and his wife U.C. Loh built on their personal collection of works by artists from Yogyakarta and founded this gallery in 2011. Besides promoting contemporary Indonesian art, Artemis also serves as a platform to support young and emerging artists from South-east Asia and is one of just a handful of galleries in Kuala Lumpur that focuses on photography.

Galeri Chandan

Lot 24 & 25, Level G4, Block C5 Tel 03-6201 5360

Opens 10am-7pm, Tue-Sun; closed Mon

https://www.facebook.com/galerichandan/

Galeri Chandan actively promotes the works of Malaysian artists to the worldNamed after Bukit Chandan, the seat of Perak’s arts, culture and heritage that dates back to the Malaccan Sultanate, this eight-year-old gallery serves as a space for local artists and collectives to showcase their works. The exhibits are often experimental and provocative of the senses, affording glimpses into the zeitgeist of the local art world, which the gallery is actively promoting through initiatives like the bi-annual Malaysian Emerging Artist Award and The Kembara Jiwa (Travelling Soul) project that aims to bring contemporary Malaysian art to the world. Galeri Chandan hosted its 100th show last November.

Pipal Fine Art

Lot 9, Level G4, Block C4 Tel 03- 6206 5111 Opens 10am-7pm, Tue-Sun; closed Mon https://www.facebook.com/PipalFineArt/home

The late Datuk Ibrahim Hussein was one of Malaysia’s most respected artists who pioneered a medium he called “printage”, a combination of printing and collage. Up until two years ago, you could view his works at his eponymous museum in Langkawi but since its closing, his stunning criss-crossing linework pieces are only accessible through private collections. Or at Pipal Fine Art, previously known as Art Folio, which has two of his Untitled pieces (on loan from a private collector) on display until the end of the year.

Pipal Fine Art focuses on the works of senior and established artistsAs Mimie pointed out, this is yet another reason for visiting an art gallery – to savour masterpieces that are otherwise not available for public viewing. For art students, there is also a small library of reference materials.
Pipal’s focus is on senior and established artists; besides Datuk Ibrahim, you can also see the works of luminaries such as Syed Ahmad Jamal, Rafiee Ghani, Khoo Sui Hoe and Hoe Say Yong.

Segaris Art Center

Lot 8, Level G4, Block C4 Opens 10am-7pm, Tue-Sun; closed Monhttp://segaris-artcenter.blogspot.my/

Local printmaker Poodien explaining his work that’s on display at Segaris Art CenterA visitor admiring local printmaker Poodien’s work at Segaris Art Center by UiTMAn extension of UiTM’s Faculty of Art and Design, Segaris mainly features the works of its alumni while also highlighting the best of contemporary local artists, from the cutting-edge to the historically significant. As its name suggests, Segaris is also a hub for art-related events including seminars, workshops, performances and fairs.

Art WeMe Contemporary Gallery

Lot 3A & 5, Level G4, Block D2 Tel 03-6211 1269 Opens 10am-7pm, Mon-Sat; Sundays by appointment only https://www.facebook.com/

www.ArtWeMeContemporaryGallery/home

Sufei Liew of Art WeMe explaining the gallery’s directionEstablished in 2008 under a different name, Art WeMe moved to Publika two years ago and continues to specialise in the works of contemporary artists — from the young and promising to mid-career and established names — both locally and from around Asia. WeMe also hosts artists from Mainland China for solo and group exhibitions.

Ruang Sementara @ Art Row

Lot 56, Level G2, Block C3 Tel 012-303 4410 Opens 11am-8pm dailyhttps://www.facebook.com/RUANG-SEMENTARA-367733061000/home

Mimie Baharuddin founded Ruang Sementara, an arts management company and event spaceThe name says it all; this temporary space, founded by Mimie, has gathered several independent local artists for its final show (until September) titled “Behind The Seen” that allows visitors to delve deeper into the psyche behind the works. But more than just a venue, Ruang Sementara is actually an arts management company that provides artists with a comprehensive range of services, from exhibition planning to financial know-how.

Titik Merah Gallery @ Art Row

Lot 53, Level G2, Block C3 https://www.instagram.com/titikmerahgallery/

Initially set up as a transient showcase, Titik Merah has instead found a firm footing at Publika’s Art Row, having been based here for two years now. Co-founded by three artists — Raja Azeem Idzham or Ajim Juxta, Adeputra and Latif Maulan — the cosy rectangular space is both a working studio for them and a showroom for their pieces as well as those of fellow artists they collaborate with or whose works they like. The latter includes an artist known as Blank Malaysia, who fuses a philosophical twist into his portraitures.

Besides the founders’ own works, Titik Merah Gallery also showcases those of other local artistsThe Publika Art Walk was scheduled for an hour and it’s a quick jaunt to get from one gallery to the next, with most located on the same floor. It allowed even frequent visitors to Publika to become more familiar with the mall’s oft-confusing layout and know of its other tenants, besides the usual boutiques and F&B outlets.

Art lover and collector Azlynne Yuen, a lawyer, attended the first walk in April as well and found it to be an eye-opener. “Prior to that, I only knew about Art Walk but wasn’t aware that there are so many other art galleries at Publika,” she revealed. “This time around, they had some of the exhibiting artists around to speak to us, and I found that to be very interesting.”

Jane Ong, Gallery Assistant at Pipal Fine Art, in front of a piece by Datuk Ibrahim HusseinFor others, an important takeaway was to see that the local art community is a close-knit and friendly group that welcomes visitors, and is happy to answer questions about their work or the industry. Even if you don’t know much about art to begin with, you will come away with something. As freelance curator Sharmin Paramesvaran explained it: “When you look at a painting and you become curious about it, and you ask questions... then your art appreciation has already gone to another level. You’re looking at art beyond just seeing the visual.”

The next Publika Art Walk will be held in December; follow them on Facebook for updates https://www.facebook.com/PublikaGallery orhttps://www.facebook.com/mapkl

Despite repeated visits, Vivian Chong still gets a bit lost whenever she’s in Publika, but stumbles upon new discoveries each time. Follow her adventures at https://thisbunnyhops.com

Mimie Baharuddin: The Star, 19 June 2016

A work in progress by Syahbandi Samat.

ARTS

Working the art circuit

JUNE 19, 2016 ARTS, CULTURE

BY TERENCE TOH

Gallery manager Mimie Baharudin has spent most of her career working with the some of the best creative minds in the local arts scene. Having managed many of the events at the artist-run, non-commercial gallery Hom Art Trans in Kuala Lumpur, Mimie has helped with countless exhibitions, and worked with artists of all stripes.

In her eight years with the gallery, however. Mimie noticed something unusual. While most artists were great at the artistic aspects of their careers, they could be quite clueless about the managerial and promotional parts.

“I found out that a lot of artists did not know how to write CVs, or artist’s statements. These were things I wanted to educate them about, because they were important skills,” says Mimie.

This discovery persuaded the determined young woman to forge her own plans of helping Malaysian artists.

“Ever since I started working with Hom in 2008, my dream was to have a space of my own. Originally, I wanted to use it to help female artists and writers. But my objective changed. Instead of a space for just women, I want to use it to help everyone,” she adds. She joined forces with visual artist Najib Bamadhaj to set up Ruang Sementara, a Kuala Lumpur-based arts management company. The company, which is based in Ara Damansara in Petaling Jaya, now has a pop-up space along the Art Row at Publika in Kuala Lumpur.

True to its name, this Ruang Sementara (temporary space) will only be there till September.

Ruang Sementara’s objective is to educate young artists looking to make their names in the local art industry, and as well as raise awareness about their careers. The services encompass general arts management, financial services, exhibition planning, publication support, and arts advocacy. Professional office space and meeting rooms are also available for hire.

Ruang Sementara co-founder Mimie Baharudin with some of the artwork in display in her company’s space.

“We can help artists to build their portfolios, self-manage their website, and so on. It’s not so much about selling artwork, there’s more focus on the behind-the-scenes,” says Mimie. She also stressed that she is not intending to compete with other art galleries.

“At a normal gallery, artists do not have to know all the overhead costs involved in preparing an exhibition, such as rent, utilities and others. But here, they have to know,” explains Mimie.

“We can also help you with networking. Artists can’t do that if they stay in their studios all the time. Even if you’re very good, it will take time to be discovered. But start here, and it becomes much easier to meet people.”

Syahbandi is the first artist to have his works displayed at Ruang Sementara’s space. Photo: The Star/Shaari Chemat

At the moment, Ruang Sementara is featuring the works of Syahbandi Samat, a young artist who has been involved in many local exhibitions. The 24-year-old self-taught Sarawakian artist was also a winner at the Malaysian Emerging Art Award competition, organised by Hom Art Trans and Galeri Chandran, in 2011.

Syahbandi, who carries a stack of ballpoint pens and markers with him, is renowned for his detailed ink works.

“I want to learn, that’s why I’m at Ruang Sementara. There is limited resources for me to learn in Malaysia other than from the people from the industry,” says Syahbandi, who is enjoying his stint as Ruang Sementara’s first resident artist.

The artist’s works on display include his “Weapons” series, which portray influential weapons throughout history, all drawn with ballpoint pen.

“I hope people can learn something from my work. And also realise that ballpoint pens can create good art as well. Anything you can see, if you’re creative enough, you can make something beautiful,” he adds. Apart from artist management services, Ruang Sementara will also be conducting a series of discussions and workshops on art management issues.

Mimie Baharuddin: Gallery Manager – This is my career

What do you do?

I am the Manager at HOM Art Trans, an artist-run, non-commercial space. It runs three major programs: Residencies, Award and Fund, and a Gallery for displaying the works of visual artists. It also has an Archive/Resource Centre. HOM is a very active space; at any given time, there are two to three activities or exhibitions that keeps us busy.

What is your background?

From my secondary to pre-university and undergraduate degree I have always chosen the arts stream, therefore, it is not surprising that I finished my Bachelor Studies in Management, Majoring in Marketing.

After graduating I worked part-time as an outsource Assistant Advisor for a finance company. I handled & managed three companies in a week. A typical week would look this: Monday at a security company in Cheras, Tuesday for multi-branch restaurants at Wisma Central, Wednesday at Shah Alam for an insurance company and so on.

I continued in the field but focused more on management and administration. During this period I became active in Women’s Development Collective, a non-government organization that focused on women and children’s issues and rights.  This initiative also engaged in Rukun Tetangga (Community Mediation) as well as social, educational, health, environmental, welfare, art, culture, economy and public safety concerns. In the course of this period, I also handled the administration of an event on clean and fair elections called BERSIH.

I also did freelance work: traditional Malay dancer, florist and event coordinator for wedding. Before I finally ventured in the creative industry, I had a short stint in a factory.

Throughout this array of work experiences, I developed a strong passion towards arts; thanks to my sister who is an artist herself. My sister initially guided me in this field. Thereafter, I started to attend exhibitions, meet artist, participate in workshops or art sharing.

I would count my involvement in managing projects and supervising a gallery as part of my professional achievements. I have been managing and working closely with curators, writers and artists since 2008. From these encounters I have gained practical skills in administration, handling artworks, marketing, promotion, etc. HOM Art Trans (previously known as Galeri Matahati to House of Matahati) was where it all started.

After the time, effort, blood, sweat and tears that I put in it I realized that this is it… this is my career.

What characteristics do you need to be successful in your job?

Gallery managers extremely need strong people-skills. If the artists or support staff are not happy or are not motivated, the quality of the program or exhibition will deteriorate.

To be successful as a Gallery Manager, one is required to: capably negotiate contracts, manage artist’s activities, sell artworks and find new opportunities for the artist.  One also has to manage projects by dealing with clients, galleries, media and other audiences.

In order for the entire project life cycle to come into fruition, one has to make sure that it aligns with the particular vision and mission. Resources such as time, money, people, sponsors or intellectual capital must also be overseen meticulously. An Arts Manager needs to use their negotiating skills to try to get the best that they can with the funds that they have available.

Creativity is another important attribute for a Gallery Manager to have. Such a skill helps evaluate the whole cycle of the project and is also helpful in developing marketing strategies. At this day and age, the public is already overwhelmed with advertisements; in order to rise above the clutter and grab the public's attention one must be able to come up with unique marketing materials.

What other jobs could you do using the skills from this job?

The skills that a Gallery Manager develops through experience helps them succeed in any job that requires knowledge in management and the creative industry. Being an Art Director (of arts or visual art department for certain organization), Artist Manager or Gallery Assistant even a Project Manager are good examples of occupations that demand a combination of attributes.

What changes will there be in the future?

Like any industry, the arts are reliant upon computers for accounting and business documentation. New technology such as whatsapp has decreased the lag in communication time and this is great for a Gallery Manager.  Good communication leads to great decisions… great decisions pave the way for good relationships to ensue.

What are the biggest challenges in your job?

At the moment there are no opportunities to learn more, no guidelines to follow. I need to create my own system and implement in order for projects to move smoothly. Just compensation and seeming lack of respect are challenges that I live with. While I may not have writing, fine arts or curatorial background, I more than make up for it in my other skill sets and my immense experience in the art scene.

Are there many opportunities to enter this career?

In Malaysia, there are only a few universities that provide subjects or electives on curatorial or art management. To rise above this hurdle, just start to know your industry. Be involved in the art community (artists, galleries, art collective, art researcher, writers, curators, art movers, framers and collectors).

Intern or volunteer at local galleries or non-profit organizations that are involved with art or local museums. These are excellent ways to meet people and to immerse in the local art community. You can also apprentice with artists whose art you like and respect.

Start reading up on: basic administration in business, computer applications (like MS Word and Excel) and accounting. Study human resources, marketing as well as basic authorities requirements.

Most importantly, communicate and build relationships! Our visual art scene thrives on relationships… good relationships take time to develop so it’s best to start now. Trust me!

About HOM Art Trans

HOM Art Trans is an independent art space that seek to assist and support the development of visual art in Malaysia and facilitates networking with the Southeast Asian counterparts.

HOM’s core objective is to promote Malaysia Art and nurture young artists through its key programmes, namely: The Residency, The Art Fund and The Art Award.

Founded in 2007, the artist-run-space currently comprises of a gallery, a studio and an art archive.

PERSONNEL

BAYU UTOMO RADJIKIN

Director

NUR HANIM KHAIRUDDIN

Co-Director

MIMIE BAHARUDDIN

Manager

Mimie Baharuddin: Hanging artwork

By Emerging Artist 

(http://artistemerging.blogspot.my/2006/08/hanging-artwork.html)

*** NOTE to reader, the system maybe suits to international exhibition, but still good reference with great tips!

Recently I witnessed a couple of artists struggling to hang artwork. They would “eyeball it” - hang a couple of pieces, and when the pieces were not level, they would adjust the nails, putting unnecessary holes in the wall, causing frustration, and wasting a lot of time.

I’ve hung many shows with art groups, hung a lot of my own shows, and I’ve been a gallery assistant. I’ve learned a few tricks about hanging artwork quickly and easily.

Math 

If you’re like me, you majored in art so you wouldn’t have to do math. And while you really don’t need all that algebra you learned, you do need to be able to do some basic adding and subtracting. So buck up, little artists! Luckily, we’re allowed to use calculators out here in the real world.

Tools 

You’ll need a few basic tools for smooth installation:

Tape measure

Pencil and paper

Level

Hooks and nails

Calculator

Ladder

Glass or Plexiglas cleaner and paper towels (if necessary)

String (optional)

Preparation 

Prepare your artwork for installation by attaching wire to the backs. Saw-tooth hangers are not reliable (and you won’t appear professional if you use them). It’s also recommended to put little rubber or felt pads on the back of the piece at the bottom. This helps to protect the wall from any paint rubbing off the frame. A bonus with the rubber ones – the can help keep the piece in place as you’re adjusting for level.

In some cases wire is not an option. You may need to hang the artwork using screws or you might need to make some sort of cleat. That’s a topic for another post.

Laying out the show

Bring all your prepared artwork to the space where it will hang. Start by spreading out the pieces and putting them against the wall where you think they might look good. Move the pieces around until you think they look perfect. Enlist an objective person to help with this.

Some things to consider – mixing up or grouping the artwork according to size, color, or theme. Some artists like to include one particularly strong piece on each wall. You might also consider hanging your strongest piece in the spot where the viewer will see it first upon entering the space.

The amount of work in the show is also important. You don’t want it to be sparse, but you also don’t want to overwhelm the viewer with too much to look at (unless, of course, that is your intent). Cay Lang touches on this in Taking the Leap:

“You should be able to look at each work of art without having the piece next to it insist on equal time. It is okay to glimpse other pieces with your peripheral vision, but it should be clear that each piece in the show is meant to be enjoyed as its own experience. If two paintings are placed too close together, they will be seen as one piece. Hanging too many pieces in a show is a common mistake of amateur artists, so a good rule of thumb is: Once you have placed the work, remove one piece from each wall.” (139)

Installation 

OK, so now you have everything in its perfect spot. Let's get it on the walls.

Most artwork is best viewed with the center at eye level, which is usually at 60” from the floor. If you are hanging many pieces (and especially if you are hanging salon-style), it’s helpful to have a guide at the center point. You can create a guide by stretching a string across the wall at 60” (hang the string with nails or thumb tacks).

Gallery style

If you’re not grouping pieces together, this is a fairly quick and easy way to install artwork:

First, measure the height of your piece. Our example is 20” high

Figure half of that: 10”

Add that to 60”, so 70” (the top of the piece will be 70” from the floor)

Put the end of your tape measure on the wire and pull up a bit to find the distance from the top of the taut wire to the top of your piece. Our example is 5”

Subtract that from 10”, so that gives us 5”

Subtract that from 70”, so we will hang our nail at 65”
(This is really hard to describe in writing! Hopefully the graphics will help.)
Keep in mind that the wires will most likely be at different places on each piece, so you’ll need to measure the wire each time.
You’ll probably want to measure the distance between pieces, too, especially if they’re very close together.

Here’s a tip for doing that:

Figure the distance that you want to have between artwork: in our case, 20”

Measure the width of the next piece: 8”

Measure 28” from the edge of the first piece.

Then measure up 64” (our wire height changed on the second piece)

You also need to take into account the position of the hooks. The bottom of the hook will be where you make your mark on the wall. So the nail will actually go in the wall above your mark:

Salon Style (String method)
You’ll definitely want a string at 60” for this method.


Arrange all the paintings on the floor so that you’re happy with the way they work together.
Measure the length of the wall: In our case, 120”

Measure the horizontal lengths of the paintings and add them together.
If there are paintings stacked on top of each other (we’ll call these a set), measure the widest one.
Add these measurements together: We get 76”
Subtract that number from the length of the wall: 120-80 = 40
Count the total numbers of sets of paintings and add 1: Our 4 sets + 1 = 5
Divide 40 by 5: 8 This is the amount of space that you will leave between sets of paintings and the walls.


Now decide how much space you want to put between the stacked or vertical pieces: We’ll choose 4”.
For the first set – add the heights of each painting and add the space between: This gives us 26”

Divide this by 2 and add to 60. (13 + 60 = 73)
This is where the top of the upper piece will be.
Measure the distance from the top of the painting to the wire: Ours is 4”
Subtract this from that larger number: 73 – 4 = 69
This is where the hook will go for the upper piece.

To figure where to put the hook for the lower piece, measure the distance from the top of the painting to the wire: Ours is 3”
Add this to the space between paintings that you chose at the beginning: 3 + 4 = 7)
Measure down 7” from the bottom of the upper piece. This is where you put the hook for the lower piece.


Theoretically, the center of the group should be at 60”:

To hang the next set of paintings, measure the width of the next set: in our case we only have one painting, and it’s 20” wide.
Figure half of the width: 10”
Add this to the distance between that we established earlier: 10 + 8 = 18
Measure 18” from the edge of the widest piece in the first set.
Then measure up 67” (using the method we used earlier).

Then measure up 67” (using the method we used earlier).

Continue on for each set.
This method also works for diptychs, triptychs, and other multi-paneled works.

Lighting 

Once the artwork is in place, adjust the lighting. Climb up the ladder and adjust the spotlights so that the lighting is even over each piece. Lighting will vary from space to space. Some galleries have better lighting than others.

Labels

Some galleries will provide you with numbers to put on the wall that correspond to a price list. If you’re doing it yourself, you might want to make some labels. I prefer the clear address labels that you can get at office supply stores.

Standard label text:

Name of Artist

Title

media
Size
year

The placement of the labels should be consistent. Standard placement is on the right side of the piece, at 48”:

Price List
Most galleries won’t put prices on the wall labels but will have a price list available for viewers to peruse on their own. Create a list that includes title, media, size, and price.

Example:
Landscape Masterpiece oil on canvas 24” x 36” $350
(note – size of artwork is generally listed height first - height" x width")
I hope this makes sense. It’s much easier to show someone how to do it than to try to write it all out.
If you have any questions, please leave a comment or email me at deanna@deannawood.com

Mimie Baharuddin: Differences between Emerging, Mid-Career, and Established Artists: Profesional Practices for Visual Artists

by BMOREART

(http://bmoreart.com/)

Nobody likes to be labeled, right? Especially not artists who tend to be contrary, rebellious

types. However, artist “categories” are bandied about by artists, gallerists, jurors, and critics and most of the people using these terms seem to be clueless, when questioned about what they actually mean.

Applications for exhibitions include titles like “Emerging Artist Exhibition,” while some contemporary gallery websites report that they only exhibit “mid-career” and “established” artists. What exactly do these categories mean and how do you place yourself within them, when necessary?

First of all, the most common mistake is for artists to label themselves “mid-career” based on age. In actuality, an artist who is middle-aged or older has no more claim to this label than a 23-year old MFA graduate. Similarly, young artists are labeled as “emerging” artists, but, depending on experience and career, this is not necessarily the case. I am consistently surprised at artists and art professionals who don’t understand this. Here are a few definitions to clear up some of the misconceptions.

Disclaimer for you sensitive folks: Of course, as with any type of label or category, there is confusion and overlap, but the goal in this post is to clear up downright misinformation. When possible, BmoreArt suggests avoiding labels alltogether, but, just like saturated fat and lines at the dmv, somtimes labels must be endured, so let’s aim to do it all factual-like.

The Emerging Artist 

An emerging artist is someone who’s in the early stage of their career, someone who’s caught the eye of an art critic and/or gallery, but hasn’t yet established a solid reputation as an artist amongst art critics, art buyers, and art galleries.

An artist who has specialized training in his or her field (not necessarily gained in an academic institution), who is at the beginning of his or her career, and who has created a modest independent body of work.

The term emerging artist is often used for young and recently graduated from a prestigious art college, but can also apply to someone who’s made a career change or recently decided to prioritize their art above everything else. You could say it’s a label art galleries use because it sounds better than “new artist” or “unknown artist.”

Magnolia Laurie

A great local example of an emerging artist is Magnolia Laurie, a painter and resident at the Creative Alliance. She just finished her MFA at MICA a year ago and since then has exhibited a solo exhibition at Creative Alliance, was a finalist in The Bethesda Painting Awards, and has exhibited in a number of group shows. She is on her way to becoming a Mid-Career Artist, having just been chosen as an artist fellow at the Hamiltonian Artist Programin Washington, DC, a mentoring program for emerging artists. I suggest you check out the work on her website, as well as her resume.

The Mid-Career Artist 

An artist who has created an independent body of work over a number of years and who has received regional or national recognition through publication or public presentation of his or her work. A Mid-Career Artist has had a significant number of solo exhibitions at significant galleries and museums, located nationally or internationally, rather than locally.

Notice this category says nothing about age of the artist or even a specific number of years in their careers. Look again, because this is very specific. To be considered a mid-career artist, you must have recieved regional or national recognition through “Publication” or “Public Presentation” of your work. What does this mean? The publication part means that you have had significant publications about you and your work, most likely through a major museum or publishing house. Public presentation also indicates museum exhibitions, rather than just commercial galleries.

A detail from Soledad Salame’s ‘Where Do You Live?’ at Baltimore’s Contemporary Museum

Mid-Career Artists have established a national or international following and exhibit in many different states and countries, rather than in a local or regional area. A great local example of a Mid-Career Artist is Soledad Salame. Despite a local address, her career is anything but. If you look at her resume, there are major exhibitions, both solo and group, at museums including Baltimore’s Contemporary Museum, the National Museum of Bellas Artes in Santiago, Chile, and the National Women’s Museum in DC, among others. Salame has exhibited in commercial galleries as well, participated in art fairs, including a video work included in Art Basel Switzerland this summer. I suggest you read Salame’s bio on her website for more specifics.

The Established Artist

An artist who is at a mature stage in his or her career and who has created an extensive body of independent work. An established artist has reached an advanced level of achievement by sustaining a nationally or internationally recognized contribution to the discipline.

This type of artist is considered a ‘blue chip’ artist in the market. Their work’s value has been decided through consistent years of sales, and confirmed at auction. This is a catch-22: many artists and artist’s dealers don’t want to risk an auction sale at Christie’s or Sotheby’s because there is a chance the work could decline in value. Rather than putting it up for auction, many artist’s dealers will buy back the work, keeping the value consistent. Many artists remain in the “Mid-Career” category until after their deaths for this reason.

Grace Hartigan

A local example of the Established Artist is Grace Hartigan. She was, and remains, a national figure. Her work has been collected in museums across the country, there are a number of publications about her, and she is recognized for an international contribution to visual arts. Hartigan posesses an international reputation and national clout. The value in her work is indisputable, confirmed at auction in public records.

Conclusions:

Now that you have read the offical definitions, you’re probably coming up with arguments and noticing gray areas. You might also be confused about where your practice and career fit within this continuum. That is ok. When in doubt, group in the “Emerging Artist” section. Many artists remain in this category for their entire careers and have a successful, busy, and healthy studio practice and lifestyle. There’s nothing wrong with this and no reason to feel otherwise. You can just feel smarter than your artist friends who think they are “Mid-Career” artists on their 40th birthdays.