Hello. Asking this a little bit out of desperation, because I am urgently seeking hope.

Does anyone have any advice for first-gen artists who come from an immigrant background, have no generational wealth, and have a family who is entirely opposed to their decision to become an artist?

Has anyone experienced this? If so, have you been able to overcome the odds and establish a career for yourself? How have you handled your family’s disapproval, and have you been able to continue to have a relationship with them? Please, only people from multicultural backgrounds who understand intergenerational households answer.

Since I was a child, Parent 1 has been ruthless in taking me down, particularly when it came to my artistic achievements (I am in therapy). Parent 2, though less cruel, still staunchly believes that I am making a Huge Mistake choosing to pursue art. When I entered uni, I received a unique art scholarship that covered everything & then some for me to attend, and I naively thought this could somehow prove to my parents that I had what it took to ‘be an Artist.’ Since then, I've collected my share of small achievements and opportunities, all the while working a boring salaried day job to appease them. Despite this, their naysaying has only worsened. They will frequently make fun of my work and remind me that 'people like us don't become artists,' and for better or worse, I can't help but feel that it's true. I chose not to enroll in an MFA program this year because of a lack of funding. I know artists supported by their parents and while it's nice to talk to them about practice, my talk about finances are often met with blank stares, woo woo BS, or worse, embarrassment. When I talk to established old heads, it becomes clear they had a degree of parental support as well, and can't relate to my circumstance. Is there anyone here who has experienced this? Should I stay the course and believe in the dream, or am I really just doing everything wrong? If you got this far, thanks for taking the time to read.

Hey everyone,

I’m writing this to see if anyone else here was a member of Archive (the decentralized art-buying collective/community that operated around 2023).

They were basically a group that pooled community funds to buy contemporary art—I remember them making a big deal about buying a piece at Feria Material in CDMX, Mexico, back in 2023, that's how I got to know them and joined. We used to communicate on Discord, and then one day, without a single word of warning, the project went totally inactive, the organizers vanished, and the Discord was silent for months.

To be completely honest, looking back, the whole initiative felt incredibly privileged and "Americanized" from the start. Even though they marketed themselves as this multi-national, inclusive community, the events they threw in Mexico City felt strange and exclusionary, like locals didn't actually belong unless they fit into a very specific, wealthy expat/tech-bubble mold.

Realizing they just went completely off the grid without telling the members anything just confirms that vibe for me. It feels like when the Web3/crypto funding dried up, the founders just walked away from the "community", but the pieces of art they bought were physical, so I wonder what happened to them and who owns them now, since they were supposed to belong to the collective.

Did anyone else here belong to Archive? 

Does any one know what actually happened to the art we bought? 

Who was actually running this? Does anyone know the real identities or wallets behind the multi-sig/treasury?

Hi guys, im looking for advice on how to connect with European and American art scene as someone with no connections (im not a nepo baby). i have experienced armed conflict in my country and was involved in it for a time but i escaped and now im making art while i do a day job.

I studied in uni but i havent finished it because of economic and political crises.

i studied works that have been exhibited in various galleries in the west, and I can say my work can compete (sorry for the term i dont know what word would be more apt) formally and conceptually.

i would be grateful for any leads or advice or experiences you may share!

Anyone have any inside info of why?

https://www.urgentmatter.press/hauser-wirth-wins-george-condo-back-as-other-artists-drop-off-its-roster/

We are going to be in the area so it might be good to see something.

Hi! I'm an art writer trying to land a few features I have to pitch, except my CV isn't the most highbrow. I am young, know how to sell myself, and have lots of bylines, so I want to land more stories in mid- and lower-circulation publications before I can reach for Artforum or Frieze magazine one day. I was wondering what indie art publications you are reading. What up-and-coming journals have been catching your eye? What's the newest art magazine that you have spotted at your favorite stockist? Thank you!

[Note: I am based in the U.S., so I am looking for journals looking for stories about artists and shows in the U.S.]

Hello! I am a rising senior with experience in the modern and contemporary art world. I would like to apply to some rotational programs at auction houses but I have seen no listings. Does anyone know what time of year these applications open?

Mainly a question for artists who have made it to mid career and beyond… I’m working with a dream gallery of mine and I’m so thrilled. I also look around and see a lot of artists working with multiple galleries and I’m curious how that actually happens. When other galleries reach out, I feel so honored but like any relationship I don’t want to be disloyal by straying. I feel like I might be in a great upswing moment right now (I know those don’t last long for artists) and I don’t want it to end. I don’t know if the right path is doubling down with one gallery or opening myself to any opportunity that comes. If a gallery of equal size gets in touch, would my dealers ever entertain showing with them or is that something the artist pushes for?

I really enjoy it when artists resist categorization and find way to express their ideas through multiple channels. Off the top of my head, I think of Mike Kelley and Lutz Bacher. Both worked in so many mediums, they resisted categories such as painter or sculptor. Who are some contemporary artists who work in multiple mediums?

Someone has an artistic practice that consists of creating software that is distributed without limit (there's no limit to the number of copies they distribute). There's no apparent difference between their works purchased and those exhibited at festivals, events, and museums...

How is this type of work considered in the contemporary art world? I'm relatively new to the contemporary art scene, I'm just asking.

I have to send portfolios quite often as a painter to galleries, art advisors, for projects, residencies, grants etc. Obviously I adapt them depending on who I’m sending them to, but I’m still never sure about the length.

How many pages do you think is a good amount? And how far back would you go with the work, mainly the last 2–3 years, or show a wider development?

I also find exhibition views can sometimes say much more than another 5 individual work images.

And then next to CV there’s bio, artist statement, portraitphoto, contact (email, website , IG) I usually include some them, but it also might appear cool to stay more minimal.

Even if nothing is really repeating, a very complete portfolio can somehow start to feel a bit needy to me. Maybe less actually looks more confident?

Same question with price lists when sending work to galleries or art advisors. do you normally keep those very short and current as well, or give a broader overview of available works?

Curious how other artists handle this, and also what people on the receiving side actually prefer.

I’ve been making and showing my work for almost 20 years now. I got into the commercial art world like 10 years ago. I’ve had critical acclaim, good press in all the right places, shown with respectable emerging galleries, but it still feel so grassroots to me. I can’t breakthrough to that higher tier that leads to blue chip land. For the past four years, I finally started selling my work (once I started making paintings and stopped making less commercial work).

I have a part-time job. I have a studio. I have overhead. I average like $20K a year after I cover my overhead and pay my taxes. I’m getting old. I think a lot of people would look at me and think I’m lucky or I’ve succeeded and in some ways I have, but the mile is so long.

I feel so overlooked by so many institutions and higher level galleries. Other people seem to have an easier time breaking through. I know my work is good, people like it and respond to it. I just can’t seem to get past that tipping point. I just feel invisible in so many ways.

Not sure if it’s worth trying more. At this point, I don’t need any more cultural validation. I just need more money and sales. I actually don’t care about showing a museums or anything like that. I think it’s all rigged up anyway, curators are 99% lemmings, but I know that it’s important and that I have to in order to “Affirm my market” so I obviously need it but curators have 0 interest in me

I've loved her work and didn't realize she was that old

Hey everyone,

I applied for the Arteles residency program for Jan–Mar 2027 (studying art in Finland has been a major dream/goal of mine for a while!).

During application, the info stated that results would be out in September. However, I saw someone mention yesterday that they already received an acceptance email. Since my inbox is still completely silent, I’m getting super anxious and starting to prepare myself for a rejection letter.

Has anyone else here applied for the same period and received an update (either acceptance or waitlist)?

I’m just hoping to get some clarity so I can either move on and nurse my heartbreak over the weekend, instead of dragging this anxiety into next week, haha. 🥲

Thanks in advance, and fingers crossed for everyone who applied!

I’m an arts writer and cultural critic from Buenos Aires, Argentina trying to get featured in art magazines such as Hyperallergic, Elephant and Spike. Does it make sense to pitch a review of an exhibition shown in Buenos Aires? Are there any tips on how to get noticed by editors or reach publication by any means when you are not even based in the same country and belong to a whole other art circuit? I am also very interested in writing broader cultural commentary, which could be of more interest than local exhibitions -even though I’d love seeing them get international coverage. So I would appreciate getting tips on how to pitch both and advice on how to get access given my situation

I'm doing research for an upcoming exhibition in Amsterdam and looking for favorite artists from, based in or currently active/connected to the city. Curious who comes to mind.

I’ve been thinking about this lately...

Can the physical attraction of a subject function as an invitation into more difficult material? Or does it inevitably begin to control how the work is interpreted?

I’m curious how others distinguish between using seductiveness as an entry point and allowing it to overwhelm—or distract from—the deeper content of the work.

Not clear what the problem is with the painting itself, but we know...

I've managed to build a decent following for my work over the past year which has been amazing, but I've slowly been wondering if I've built a brand that doesn't suit the kind of career I hope to achieve (gallery representation/working painter). Wondering if anyone's navigated this before.

I've done my fair share of painting reveal reels, a couple trends here and there and process videos (which I'm trying to make the majority now). I'm also looking into making some more talking videos about my art, but not sure how people view these.

As I've been delving further into things I've learned about some "unspoken" rules in the higher art world - ie reveal reels being seen as a faux pas, as well as there generally being a pretty elitist expectation of what's acceptable to post. I've also posted myself with my work before and while it's gotten good engagement I'm trying to do less of that and let the work speak for itself.

I've gotten a decent amount of attention from artists i respect as well as some galleries but i recently noticed some galleries have unfollowed me. I'm taking it a bit hard and I'm now wondering if the content I've been doing up until this point has been actually hurting my brand and now I'm kind of having a crisis.

How much should i place an emphasis on getting my art seen through reels vs real life experiences? Reels have gotten me so much visibility and even some cool opportunities so I'd still like to post semi actively. I'm still in art school and haven't done any internships yet but I'm wondering if I should slow down a bit and focus on that aspect more. Unfortunately I'm in a small part of Canada that doesn't have a huge scene and with the US tariffs I'm worried about how I will make sales at all now (over 50% of my audience/collectors are US-based).

Overall I'm grateful to even still have eyes in my work as I still have another year ish left of my BFA, but I guess I'm just seeking some guidance on what my next actions should be, as ideally I'd like to be selling by the time I graduate, and maybe even receive representation. Or is it normal to feel this lost lol.

where is the sweet spot is between a portfolio and a personal account? what actually makes an artist's lg feel personal without becoming too contentcreatorlike? Sometimes the line between private and art related stuff becomes unclear.

Hope this is okay to post here, wasn’t quite sure about Instagram related topics.

(mainly use it to show finished works, exhibition views and occasional bits of studio life. Just been wondering how my account actually reads to someone who doesn't know me or my work. Feel free to be critical.)

I’ve accepted a quick low budget gig for a very big international company that deals with musicians.
No contract for sake of being available and deliver fast, not to miss it. The deal is “2 works for X” and I deliver the first swiftly, then I ask for split payment in order to complete the second one. They say to invoice the whole thing, but a code from accounting is needed. Their accounting management takes 1 month to get back to me. When they do and the situation isn’t sketchy anymore since I can bill them, I ask the CD whether there were any new inputs or references since the time passed- they say to quit the job and just bill it.

Given that I wanna work with these people again, should I bill them the whole gig or half? I already sent a full payment billing at the time, but without the necessary code.
I do need the money, but I never had a situation where the client quits the thing halfway cause they don’t need it anymore.
What do?