He begins by claiming that the moral discussion of art actually centres around two distinct .. involves a false relationship, in which a work written by one person. INTRODUCTION: Art and Ethics. How should one think about the relation between the aesthetic value of an artwork and its moral value? There are two extreme. The discussion of ethics in the art world has come up numerous Listen to what others have to say, and consider your role in the relationship.
It is also important to know that most funders have a committee of your peers other artists, curators, etc. Hence, the makeup of the review committee can greatly influence how your work is received.Aristotle’s Timeless Advice on What Real Friendship Is and Why It Matters
It could be that you just need a little more experience. Do NOT give up applying for grants and other funding. Do NOT give up on applying for shows. Doing your research and making sure your work fits the application requirements is one of the most important aspects of getting grants and exhibitions. If you find out why you were rejected, you may be able to make changes, and reapply next year. When you make a follow-up call, especially following a rejection, make sure that the receiver has time to chat with you.
Other people in the arts are often understaffed and very busy. Some foundations only have one or two employees. Be courteous, and if they are busy, ask them when you can call back. Do not argue with them and just listen. You can ask a clarifying question, but remain professional at all times. You can learn a lot from the experience. Deception Deception can ruin a career. Don't lie about your past achievements on your resume because doing this will eventually come back to haunt you.
Don't make sales behind your dealer's back and don't lie to collectors about work. If you make art out of materials that will decompose, you should disclose this to your dealer, the curator and the museum. Do not misrepresent the materials. Getting sued over a good joke is no laughing matter.
David Nash, Ladder, Espoo, Finland Artwork on Private Property Creating artwork on someone else's fence, house, or other property is an issue that you should consider. Graffiti and tagging may be a valid art form, but it is expensive to paint over and clean up.
Public property is just that--public; consider how your work will affect others in the community. Always be respectful of private property. Don't Take Advantage of Others Making art that hurts others--such as hurting people to get a good image, or making children cry to get a great shot--should be considered carefully.
If you are working with adults, get permission and make sure that they understand what you are doing. Get them to sign a model release form. If you are working with children you will need their parents to sign a release form. If you do work with kids or those who are challenged in some way, be very careful when using manipulative tactics.
You have no idea what terrors you are setting up for their future. Eco Art When making landscape art, you should consider if you are actually damaging the flora and fauna. Making an ecological statement, while at the same time destroying the very thing you are working on, is a contradiction.
This seems obvious, but it happens all too often.
Ethics For Artists | HuffPost
Privacy Any work that affects the privacy of an individual should be cleared with that person before being shown. This is the purpose of release forms. Also, consider what it means to use someone else's image in your work, and how it may affect that artist. Getting sued over the use of an image should always be avoided. Certain chemicals, mold, and other materials may severely affect people with allergies, people with weak immune systems, and children.
If you need to use something that might be potentially dangerous, make sure you inform the audience and the gallery with noticeable signage. See Experimental Materials section. Documentation That Includes the Audience It is important to notify your audience if you document your show and record interactive relationships with your audience. If an individual's likeness is clearly identified, you may want to get them to sign a release form. Graphic Images If you are showing work at a space where families gather, you may want to consider how to present the work if it is not appropriate for children.
Signage is a good way to warn parents that they are entering territory that may be disturbing to children. Graduate Work Sometime galleries do not show work made in school, even if it is a graduate show.
One reason is that they may be avoiding work that reflects a collaboration of ideas between faculty and peers.
Some galleries will want to show work that is "totally yours". Also, certain funders prohibit support of student work. Be sure to thank the curator, dealer, or funder. You should at least thank them in person, but a nice note is really special. If you are in an exhibition that publishes a catalog, consider using this as an opportunity to thank those people who helped you with the exhibition.
If you get rejected for a grant, or a show, writing a thank you note for allowing you to apply might help them to remember you in the future. If you do not get the teaching job, thank them for the interview. You do not have to be extravagant, just make sure that they know you respect their support. Asking For Things From time to time, you will need someone to write you a letter of recommendation. When you ask someone to write a letter, do NOT wait until the week it is due.
If they say yes, be sure to send them all the pertinent details: Make sure to give them plenty of time to write the letter. Be sure to include information about yourself, particularly if they have not seen your latest body of work, or if you have additions to your resume, which may be helpful in a letter. It is a good idea to keep in contact with those whom you may request a letter from. Consider how selfish it will appear to request support from someone you have not reached out to in a long time.
Be generous, and others will reciprocate. How To Treat Established Artists It is not the job of your former teacher or other artists to get you into a gallery.
Ethics For Artists
If you ask someone to recommend you, do not do it out of the blue. Make sure that your colleague is comfortable with supporting your work, and do not expect them to say yes. Artists have a limited number of recommendations that they can use with the people they know.
Do your homework, have them over to your studio, and try to wait for them to bring up the subject. Art Agents Beware of dealing with art agents. They may say they can help your career, but consider this: An up and coming artist who was starting to do quite well in their career was contacted by an agency.
They offered to help secure shows, do PR and basically make the artist's career. What the artist may or may not have known is that the agents were buying out the shows before they opened.
The artists became so desired, because of this market manipulation, that he had shows set up all over the world. Once it was found out that the agents were dealing in fraudulent practices, it destroyed his career.
Always be aware of your agents' practices. Editions There are laws that govern editions. Editions must be declared at the time they are made.
Buyers must be notified of the number of editions in writing. DO NOT make additional prints or photos after you have declared the edition size. Be aware of the consequences of such actions. That is tantamount to sending a message in a bottle out to sea. Most success in the art world is made through being active in the art community and through its extensive referral system.
A dealer will only do the above after representing you as an artist in their roster and after a business relationship is established. Otherwise, why would a dealer suggest someone to their business clients without knowing who you are, what you are capable of producing, how you are to work with, how you handle deadlines? They need to know what you are like in person, and how your reputation is regarded in the larger art world.
Regardless of what a dealer thinks of your art, they will not jeopardize their existing business relationships and reputation by referring a complete stranger. Along the way, you will meet plenty of people, make connections, and open the doors to many opportunities. This is a tried and true way to get galleries, sales, teaching referrals and all kinds of other good stuff for your career.
The art business works on connections and referrals. So be on your toes, be generous, and above all, be a professional.
Shady Collectors Some collectors may try to negotiate with you at an opening to try to get a price break. Beware of this practice, as it may violate your contract with the gallery, whether written or implied. Send the buyer to the dealer and let them work it out. After all, it is the gallery's responsibility to sell at their venue. What ethical responsibilities do artists have? Do arts educators have ethical responsibilities? Can there be 'ethical guidelines' for arts education?
Can they encourage democracy or an ethical alternative? Can the arts help or harm the development of ethical reasoning? How do the arts present ethical responses to real life situations? Aesthetic experience is becoming increasingly discussed in neuroscientific terms.
How does this alter the dialogue surrounding arts and ethics? How have discourses about the arts ignored issues pertaining to ethics?
How do specific ethical theories normative, virtue, discourse, pragmatic, utilitarian, Levinasian contribute to this discussion? Lambert Zuidervaart, Institute for Christian Studies and University of Toronto This conference welcomes submissions from any discipline that explores the topic under consideration.
Please submit presentation abstracts words and a short bio words to Jeff. Direct any questions regarding the conference to the same address. We welcome non-conventional forms of presentation, including lecture-recitals and other performances.