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05/26/2008: "The Pink Press"

In the beginning [and working from outside the system as was my case] you don't worry much about promotion, word-of-mouth sort of does the trick. But word only travels so far. If you are serious about your work you soon realise that you have to become a bit more aggressive. As soon as you start to show, word-of-mouth slowly runs out - friends and family can only carry you a certain distance. You quickly discover that you have to send out invitations if you want people to keep coming; showing up at openings and parties broadens your data-base; phone calls help. And when you've gone down that road for a certain time there comes the day when the've all gone home and you allow yourself to dream for more. When will the critics come? When will the good galleries open up? And time goes by and they don't come, and they don't open up... or if the first one's come the second still don't open up their doors to you.

That is when the real hard work starts, when you realise you are going to have to go it alone. I call it the crossing of the desert: ahead of you lies this vast stretch [40, or with any luck, 50 years of your life maybe] to cover alone, and you have no way of knowing where you'll end up. That's what any artist is looking at beyond the emptiness of the canvas or the weight of the marble or granite block. That is how I felt in those early years. That's how I still feel today, come to think of it, but I now know this: I've enjoyed the ground I have covered so far and worry less and less about where it will end up.



Back in those early days, after tackling things for six years I woke up one morning to find my work favourably reviewed in the daily paper for my participation in the young artists competition at an important local venue. In the weeks that followed I also discovered it still meant little - in this tiny country of mine only 1st prize matters: funds become available, gallery opportunities arise, works find their way into significant collections. For all the rest of us the following day is 'Business as Usual' and the quicker we get used to it the better we are able to bounce back and take the next step forward. And for those of us not getting first prize or any significant leftovers the promotion side of the work - and yes, self-promotion - quickly becomes a necessity if we want to stay on the tracks.

For whatever unfathomable reasons the establishment may insist on ignoring us, avoid us or even try to fend us off for the major sin of self-promotion and resorting to the pink press [and more recently personal websites and blogs] but we have few viable options to get the message out. Others - and more painfully, newcomers - may seem to be getting ahead in the race, but remember this: it isn't a sprint. We get into this for the long-haul; time [the fastest one to whatever and wherever the finish line might be] isn't the most important factor; resistance, experience, perseverance, drive are our ultimate allies.

A few years back I bumped into the winner of that award back in 91. She had stopped painting and embraced a more profitable occupation. She was no longer an artist and it showed in her eyes at a deeper level the accoutrements her profitable occupation afforded could never conceal. In that moment I realised I had been sufficiently rewarded. Not because she had given up, nothing saddens me more than finding out that someone with talent has given up, but because I was able to appreciate just how valuable a prize those five lines in a narrow column with no follow-up had really been.

When this gets published I will no doubt be back at the studio - business as usual. Crossing a new stretch of desert, looking for the next oasis and, hopefully, knowing better than to allow myself to be lured into staying amidst its comforts for too long. Will I be calling on the pink press again to promote my work? Who's to know. If nobody else will do it for me I just may, it has hurt me much less than the pundits declare.

Replies: 13 Comments

on Sunday, June 22nd, Garchetti said

New groups and movements of contemporary art

The new "Syncretic Art" Italy is new artistic movement founded in Italy, 3-November-2004 by the artist Angelo Mazzoleni. The other group members are artists: Marco Ceravolo, Thomas Cocco, Carlo Oberti, Alfonso Rocchi.Come shown by its manifesto, the philosophy of the new group is characterized by a search artistic "type humanistic, aimed at recovery and reworking intercultural and interethnic, languages expressed by 'art and ancient cultures in a contemporary, then attempt a conciliation or precisely "sincresi" cultural and artistic history-universalistic.
MANIFEST OFFICIAL GROUP-MOVEMENT
'NEW ART SINCRETIC'

With this Manifest, some artists, based on the commonality of certain elements of their background investigation poetic, have decided to give life to a project to experiment with new paths for research, through the foundation of the group called "new art sincretica '.
On the basis of elements that already bring us together, we intend, through the exchange of experiences, ideas, emotions and projects, create a synthesis process historical universalist leading in total freedom of everyone, to the development of a theme sincresi between past , Present and future is in a diachronic, which synchronic understood in the sense intercultural global economy.
If we share the inner journey through time and history, between the different cultures of the world, the rediscovery of our origins and roots, we want parallel claim our dissent against a certain type of system "elittario", directed by financial powers, who, for profit, arrogano the right to govern most of the art market often degradandone value, imposing models and lines sense unico.Rispettiamo every art form but we do not like the mistificazioni, TV rubbish, cultural models designed only to arouse scandal for the success end in itself.
As artists, we believe that we have to make our contribution to a difficult fight against cultural degradation and conformism media present in our globalised society.
The art sincretica, while putting at the core of its dynamic operational experimentation and innovation, pursues fact, without preconceived schemes, in a free and instinctive, an "total" based on the recovery of what today and 'lost, due to some degeneration brought by globalisation and a certain oligopolistic market. This' also means: a continuous comparison between contemporary and the world of our origins and the higher values expressed by history, and then the rediscovery of a new humanism against the decadence of human values and artistic products from a certain culture-capitalist technology. We propose forms a new research inspired by the recovery of the concept of beauty and universality of the work of art transposed to the world, starting in a new way by languages expressed during the course of history, arts and cultures in the world.
We are opposed to the commercialization of culture and "spettacolarizzasione of the art" when it proves only a trick aimed at fame but devoid of depth or content of fruit mode or mercantile interests. We propose the return, in a new way to a creative process, however, showing a man and his emotions at the center of-work, its deep values, bringing the art in places that compete homes, churches, old Houses etc.., so that the works in time accompany the life of their lives. No coincidence that we use in addition to the traditional materials that have the characteristic of being as much as possible "natural", 'old and new', in order to tell a story or endless stories next to us, and that of those who have gone before us.
We hope that our works evoke know, with the emotions, even the rediscovery of humanitas today partially lost and can bring the observer to the springs of instinctual, our history and our present. L 'art sincretica can not be so much defined nor explained but only as seen through the continuous evolution of our works as a continuous free-creative dynamic process we stimulated and production and is therefore, only one of traces of transition group, a common frame of reference in which everyone is allowed to operate freely to other horizons and new trials.

The group New Art Sincretic.

on Sunday, June 8th, jose said

Andrew, only just now noticed that you had posted a comment. I am familiar with such programs, they go by a different name here in Portugal but are in essence the same... it must be some sort of plot to reduce people to idiocy and accept everything that the instigators wish to feed them: a new opium for the masses, something more poweful than football, now that calciocaos [which is also everywhere] has driven away some of its addicts. There are less and less places to hide and sadly even artists are no longer willing to put in the effort to contribute to the vanishing oasis. Thanks for your kind words of support.

on Saturday, June 7th, Andrew said

Jose, have you ever heard of or seen a musical contest called X-factor? In it, musicians are told that one, just one, out of thousands will walk away with a big record contract. Then, according to the rules, they are asked to sing other people's songs and be judged on their performance. In the last version in Italy, this was done by a record company exec, a famous musician, and a busty but brainless television host, Simona Ventura, the producer. Her previous prime time extravaganza was called Isola degli Famosi, Island of the Famous, where she put TV stars on a deserted island to fend for themselves, and filmed all their disputes, letting a phone in public decide who not to eliminate until just one remained.
I couldn't help feeling while watching X factor, even if many of the finalists were immensly talented, that they were selling their souls and behaving like trained animals. Each of the ultimate ten achieved heaps of fame. You couldn't help but notice them if they appeared on a metro, or if you saw them on the street, and no way were they going to be able to go anywhere without people stopping them and asking for autographs, or actually mobbing them as if they were rock stars. They had each been on prime time TV every night, for more than a month. As a kind of reality show, their painful moments, like when they got on the stage and were told they were out, were played and replayed for weeks after the contest ended. Any conflicts they had, any disagreements, became the source of intense interest for the producers, who constantly filmed everything that happened offstage. In short, it wasn't about the music.
A musician who plays their own music to a crowd, any size crowd, keeps to their path and doesn't become a cash monkey for someone else. I parallel this to art because there really are a lot of parallels. All the efforts you have written about, Jose, seem to come from a spirit of individualism that is an antidote to herd mentality. This is an attitude that has great value to me.

on Saturday, June 7th, comfort said

a good read.

on Friday, May 30th, Ellen said

Jose- The fact that you are "still doing it" is a testiment to your character and your art. Although it is difficult at times to get over the lack of recognition, I have for years subscribed to the Ricky Nelson (in the song Garden Party) school of philosophy: "If you can't please everyone, then you've got to please yourself. This may not put food on the table or my art in museums, but it helps me get by. Keep painting and doing what you are doing creatively! You are an artist: what can be better!!

on Wednesday, May 28th, Mark said

Jose, I agree. Seems one needs to be famous not to have to worry about promotion (others do it for you) yet one must do it to become famous so others will do it for you. Ahhhh, to be famous! Well better to come back to the real world and remember fame isn't everything, but the work is. Good blog Jose.

on Wednesday, May 28th, jose said

You'll meet no worse salesman than me Mark, I'm bad at selling the work. The promotion part I've come to learn the ropes watching two ladies I hired once to the job - but promotion doesn't necessarily spell sales. I don't write much about myself or the work, I just use bits of text others have written about it along the way and say a new one is coming up, send them a few images and details of the venue and hope for the best. It all starts 2 months before the show and I follow through with thank you notes and little gifts [a signed catalogue, a small watercolour or work on paper...] when something big like a tv show or spread in the newspaper comes out. It's all about being civilized and friendly in the end, and once you've got the hang of it and no longer need someone to do it for you it doesn't have to cost you beyond the phone calls and the postage - the thing kind of snowballs. But I'm like you, I'd much rather paint and not have to worry about this aspect either.

on Wednesday, May 28th, Mark said

I often wonder if I was a better salesman would I be making more money from my paintings? Would I be famous? I don't know, and it doesn't matter because I am bad at the business side of this occupation. But I try. Self promotion can be very hard, we are so emotionaly tied to our work (unlike a dealer or gallery) that for me it is hard to blow my own horn. But we must try. Do the best we can. We should not beat ourselves up about it as no one can be good at everything.

on Wednesday, May 28th, jose said

Valerie, how I understand your mixed feelings where you now find yourself and how brave you are not to come up with those in this forum in spite of the need I know you must feel to express them. Brunei was much kinder in that regard and I was able to vent some of my frustration here, but the Emirates exert a much tighter control, it would be too dangerous. Keep your notes, you'll have loads to tell us when you move on.

on Wednesday, May 28th, Valerie said

This is a much needed reminder for me of many things and the kind of perspective that my Dubai isolation makes me forget. Thank you very much. I have stopped working (i.e creatively) since I landed in Dubai. There is a lot going on here which is 'interesting' but it's difficult to see beyond the hype. What is visible on the surface seems to be at complete odds with the chaos underneath. As this environment seeps in the only ideas I want to express are either political or ugly both of which are complete no-nos in the happy PR and business model that is Dubai!!

This post has reminded me to just do the work for myself because I need to and not be concerned about the fact it will never leave my apartment!

on Tuesday, May 27th, josé said

Before I answer let me provide you the first two paragraphs of this blog that somehow didn’t get published. I am the only one to blame, I submitted my text too late this time. Here goes:

« Handling the promotion side of our work is something many of us shy away from, or at least find difficult and tend to neglect or do half-heartedly. Ideally, of course, it needn’t be our concern and a gallery or critic would take you under their wing and do that for you. That is ‘the proper way’. But I would venture that most of the time for many of us the ‘Ideal’ and the ‘Present’ reality are worlds apart and we are left alone trying to bridge the gap as best as we can. It is something we must do.

Some years ago I learnt that I was being shunned by galleries and critics because at a certain stage in my career I had resorted to the pink press and less nobler forms of television – Art, according to the pundits, ought only appear in the relevant press and cultural programmes they frequent and deign to bestow their blessings on. I had always heard it say that self-promotion was a dirty word, but quite frankly, I am glad I got over that complex and got on with my life as an artist.» …

Rajesh, thank you for your kind words of support. It's almost like a calling or a vocation, wouldn't you say Brad, and as is the case with all callings it's not all downhill. I like the image you use of the road builder, how true that we have not only to preocupy ourselves with our art but make the way for people to get to it. the more paths you open up for people to get to it the better... the pink press is realy only as pink as you let it be.

on Tuesday, May 27th, rajesh shukla said

hi Jose Freitas Cruz,
you blog writeup is sentimental as your works. the kind of work you are doing is enchanting. keep going and covering the stretched desert you will find the lake.

on Monday, May 26th, Brad Michael Moore said

José,
I see those people, who are most happy with their years, have chosen a, "Way of Life," to adhere to - a vocation that envelops them. For an artist, such a commitment requires you to commence towards a existence full of efforts - where success will finally be based upon an continuation of goals you will set, exercise, and achieve. Others will be your judges – not always of your choosing... No matter! What you learn from the experience – is to stand above the fray. Only in that way, may you come to see the far horizon is closer than the one where you began. Over a lifetime, most artists will experience periods of distraction, illness, high fidelity in their output, and sacrifice of their art-time for friends, family, and loved-ones. What is most important, is to keep moving like a road builder – every foot forward is another step behind you that changes your vistas all around.

As I just told a friend recently, struggling between art and family...

"Scale down your art, if need be - but do not stop you progression. Even if you must resort to only working a sketchpad, or, doing portraits of you child's friends - or your own. When I was little, and the youngest of 3, I was afraid to draw - for both my older brothers were so much better than me - yet, I was the real (visual) artist, among the 3 of us, who would, eventually, persevere... How helpful it would have been for me today - if I had kept on drawing..."

So, we never, ever stop. Whatever it takes to do a little each day - do it, just keep the flame alive.

Always work your position to best be seen - when a passing art lover, curator, or visionary, might pass by. Not only must you make your art – you must also make a way to your art – you are a road-builder... When you grow old - you will not only be proud of your consistency - you will have set an example to others too - that they also can carry a light of art throughout their lives...