• Summary

  • The THRIVING ARTIST PODCAST is a feature of the Clark Hulings Foundation, which exists to provide training, professional introductions, and funding for working artists, to turn working artists into THRIVING artists. Tune in for insights from other artists, art industry experts, art collectors, and business specialists. Don't be a starving artist, be a thriving artist!
    Copyright 2015-2021 The Clark Hulings Fund
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Episodes
  • Nov 26 2021
    “We’re going to need more art—all of it—to solve the world’s challenging problems. Creative intelligence is what it takes to inject life into the culture, to drive effective leadership, to drive new ideas. We don’t have to choose. We can have one foot in the world of visceral taste and touch and another foot in the digital world without having to split ourselves in half.” ​​​​This is a bite-sized The Thriving Artist™podcast episode with Daniel DiGriz’s perspective on art news and cultural change. As you may know from previous episodes, Daniel peruses the art news of The New York Times. This time, a couple of headlines really stood out! The first one is 50 years of Taking Photography Seriously. The synopsis: When the Photographer's Gallery opened in London in 1971, few saw the medium as suitable for exhibitions. Today everyone does. The second article is Hands Off the Library's Picture Collection! The synopsis: Cornell Spiegelman and Warhol browse the famous collection of images in the New York Public Library. Now a century of serendipitous discovery will come to an end if the collection is closed off to the public. This episode is courtesy of Shirley Lemmon.
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    16 mins
  • Mar 24 2021
    James D. Balestrieri is the Clark Hulings Foundation’s Writer-in-Residence. He is currently working on a new book on Hulings, Clark Hulings: Quantum Realist. Jim is the proprietor of Balestrieri Fine Arts, a consulting firm that specializes in catalogue research and arts writing, estate and collections management, and marketing and communications for museums and auctions. Jim has a BA from Columbia University, an MA in English from Marquette University, an MFA in Playwriting from Carnegie-Mellon, and was a Screenwriting Fellow at the American Film Institute. He served as Director of J.N. Bartfield Galleries in New York for 20 years and has published over 150 feature essays and reviews in a wide variety of national arts publications. In this episode, Jim gives us an in-depth look at the themes of the upcoming Hulings book, and discusses how Clark Hulings’ career strategy applies to working artists today. Inspired by Hulings’ successes both within—and outside of—art tastemakers’ approval, Jim and Daniel question who gets to decide which artists matter, and how the canon does and does not serve the best interest of the arts, or artists. Hulings’ accomplishments, both as an artist and a small business owner, call to his deeper understanding of the dignity of work—from running a market stall to the act of making a living as a painter—as a way of belonging to the world. A Painter of Work“Clark Hulings was an American artist. A realist—in a way. He began his career as a very successful illustrator in the golden age of illustration.” “The thing that sets him apart is the subject that he found, chose, and made his life’s work. His life’s work is depicting work. Working people in working situations—whether they’re farmers, laborers, whether it’s an urban setting, a village setting, or a rural setting. What he captured was working people at work, doing what they do. And that sets him apart from almost any other American realist of that time.” “Lots of people associate Clark with Western Art. [...] But really, the number of paintings he did that could be considered Western or Southwestern is miniscule compared to the numbers of paintings he did in Mexico and Europe. So there’s a whole idea that Elizabeth [Hulings] and I have talked about, which is repositioning Clark Hulings as an American Artist, and indeed, an international artist.” “[Hulings] doesn’t really give you a story. They’re not narrative paintings. He moves his easel painting as far from illustration as you can imagine. You see these people working and you wonder what they’re thinking, and what they’re like, and what their inner lives are. But he gives them their privacy.” Travel Beyond Tourism“For Hulings, travel—and if you look at his paintings, you can see it—travel was a way for him to find places. I would use the word 'traditional places,' where the traditions of work and of life were on a long continuum. He seems to be very interested, not only in showing, ‘oh yeah, those women are washing clothes in a street today,’ but in showing that the place around them was a place that had been inhabited for a long time, so that what they were doing was on a long continuum of existence. A kind of deep time. And for those, you’ve got to travel.” “There's a whole tradition of travel painting where there are paintings of the famous places: paintings of Notre Dame, paintings of the Ponte Vecchio, paintings of this [or that]...That's not Clark Hulings is about. The first painting that really attracted me to his work is this https://www.clarkhulings.com/2021/body-and-soul-street-in-naples/ (small painting he did of Naples). And it's this narrow street. Narrow. You couldn't even get a car, one car down there, much less two. And there are deep shadows and the laundry is hanging across it. This is not the Amalfi Coast, this is not some famous resort.” “It's travel of a particular kind that really attracts him. In order to find the kinds of places that Clark Hulings wanted to...
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    54 mins
  • Jan 26 2021
    Artist and illustrator Melissa Whitaker works full-time for companies across the US, bringing her signature pop-graphic-noir style to their branding and storytelling. Melissa’s clients include Madpipe and Free Agent Source. Commissions include food and beverage, real estate, and medical industries—as well cover art for authors and musicians. Her work has been exhibited in LA, San Francisco, KC, and St. Louis. If you happen to be her part of the world, look for her new billboard for the Arts Council Southern Missouri; it’s a satisfying full circle from when she was featured on that same billboard years ago as a real estate agent. Whitaker made the commitment to a full-time art career later on as an adult: she kick-started her art-business skills with CHF and never looked back. https://itsallintheart.com/ (itsallintheart.com) The Thriving Commercial Artist“Companies want to tell the story of who they are, and why they do what they are doing. Maybe they can’t find the perfect stock photography for their business. They will come to me to illustrate their story, and make their website or material, even their PowerPoint presentations, stand out from the rest.” “Companies are adapting to be able to reach out to people who are not socializing much anymore. They’ve got to put that personality into their marketing presentations. I see new people coming in for personal illustrations: I’m talking to a real estate agent right now who wants to make herself stand out from all the other agents out there. So I’m excited!” “A whole new world of crypto art is coming out. It works a lot like Bitcoin where you can take your digital artwork and you basically encrypt it, where the person who’s buying that is buying the original—virtual original in a way—so it’s not just a digital copy. And that has value to it.” Collaboration: The Artist’s Voice in Commercial Work“The client will tell me: ‘I want a subway station platform.’ I will put myself there, thinking: ‘if I am on the subway, if I get off the subway and I’m on that platform and I’m waiting…How am I going to stand? How am I going to see that train? Where is the train coming from? Who are the people around me? And that’s what goes into the picture. So I would say a lot of myself goes into the picture because I put myself there.” “I’ll talk with the client and I get a sense of what they are looking for. A lot of questions come out, such as what kind of mood are you looking for? What do you want your customer to feel when they look at this? What is your objective? All of that is information that is needed in order to tell the story accurately.” “In today’s culture, a lot of people refer to movies. They’ll say, ‘I’m thinking of The Transporter,’ or ‘I’m thinking of 80s music’ and they’ll give me a playlist. That puts me into the zone and it will come out in the art. I try to put everything, all of me, into the art—so whatever is going in, is coming out into the art. “Sometimes I’ll do rough drafts to get an idea of what the customer wants. And there are times where I have an image in my head and I’ll just do the whole thing and send it to them, because sometimes the client doesn’t know what they want until they see it. Or they can’t envision the rough draft in the final completion of the project.” “There are struggles at times. There are directions I want to go, and the client has to pull me back and say no, no, no, that’s that’s the wrong way. Or, ‘that looks really fun but we can’t go there.’ So that can be difficult, but often I will go ahead and still create it because I can always use it somewhere else. I’m very open to change and adapting because I will always try to make something work.” Technique & Composition: from Walls to Web“If it’s a complex illustration with several individual people—each character is drawn individually and on a separate layer so that they can be reused. They’re like stickers: you can post them here or there, which makes it unique and has...
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    1 hr and 20 mins

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