Recently, one of my readers wrote that “there is another kind of generosity that comes much harder to me. I know I shouldn’t be stingy in this way, but I find myself stubbornly so. It’s the generosity of sharing my ideas, my connections, or giving a leg up to those who could benefit sometimes from my knowledge – whether that’s contacts, networks, tips, or the meat of my ideas themselves.”
This concern, of course, is not unique and strikes at the heart of something that all those in creative professions fear and must face. The ownership of ideas is difficult to prove. If you tell someone your plan in confidence and they, in turn, use it for their own purposes, there is very little you can do to show that you are the originator. Spreading this rumor is likely to make you look like the bad guy. It’s no wonder that this sort of generosity is cause for concern.
Arguably, no one would really offer up their original ideas before they have been fleshed out and no one would expect this from another artist. Talking about work in progress in general terms is one thing, but detailing the entire plan is another altogether. There is nothing wrong with being a little protective of your creative capital, it is the lifeblood of what you do.
But what about sharing your networks or some trade secrets that helped you get to where you are today? While you may have worked tooth and nail for everything you’ve gained, there were surely people along the way who said yes at the right moment and assisted your progress. No one can ask more than this, and as an artist of a certain standing, there is nothing wrong with offering this sort of help.
It’s important to ask yourself what you may gain or lose by offering your assistance in any way. While this may not sound like a very altruistic way of thinking, remember that you are indeed running a business and there is nothing wrong with a bit of shrewd thinking. Further, though, when you stop and think about the outcome of sharing your network, it is unlikely that helping an emerging artist by introducing people who might be able to help will in any way affect your position as a more established artist.
No one exists in a vacuum. Even you, who may have scraped and fought your way to where you are today, benefited from the acceptance and help of others. Sure, you may have pounded the pavement endlessly in order to secure your position but that is no reason not to pay forward the success you have achieved. It is too easy to forget, once you have achieved a certain status, the myriad small moments that led you there. While it may seem as though hardly anyone was out to help you in the early days, surely there were some, otherwise you could not be where you are today. Even if it was just a few gallerists who were finally willing to take a chance, there are always rungs of assistance in the ladder to every success, no matter how small.
In our present times, we live in a world where community is very much at our fingertips. The rules of social engagement have definitely changed. This is both a benefit and a burden. While the new landscape of online social engagement can absolutely open up opportunities that didn’t exist prior to this revolution in social connection, the online community can also present a world of its own difficulties. It is impossible to know who you are actually dealing with and with virtually everyone in the entire art world present online, it can easily overwhelm a newcomer to the scene.
For these reasons, there is a lot to be said for good old-fashioned face-to-face interaction. Being the sort of artist who is willing to mentor in the real world sets you apart. Establishing this sort of reputation, for being the one who will gladly share the bounty you have created, seldom reverses one’s own success and frequently opens new doors you may never have considered.
Getting back to the idea of sharing artistic ideas and concepts, this is a bit trickier. As I said before, it may be unwise to give away your nascent, unfruited plans to just anyone. On the other hand, allowing others to view works in progress isn’t likely to cause too much harm.
Arguably, there is no such thing as original art. Even some of the most contemporary artists’ work is derivative of past creations. Marina Abramovic, in her unique style, has absolutely drawn from (and occasionally been accused of copying) works by other artists. Pablo Picasso (and perhaps more famously, Steve Jobs who quoted him) said, “good artists copy, great artists steal.” This doesn’t mean that you should open yourself up to idea theft, but it does mean that perhaps being stingy with your concepts, your network, your position as an established artist, doesn’t count for as much security as you might think. Be smart about things, but in general, it is always a good idea to reach down the ladder and help those coming up behind you find the next rung. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
Featured image: Jarrod Barker.
This year’s exhibition is rooted in Alvin Toffler’s 1970 book, Future Shock. Toffler examined the idea of collective shock as a result of living during a time of extreme change. Spinning out from the ancient curse, “may you live in an era of change” this year’s biennale seeks to disrupt the notion that extreme change is outside the ordinary and instead posits that all of human existence has been based around rotating times of chaos and calm. Open call for the 2017 biennale ended in December, but for future events (the next is slated for 2019) artists are always welcome to contribute their work for consideration.
And in 2015 Saltwater: a theory of thought forms. The 2017 biennial is working in collaboration with the 2017 Istanbul film festival, both of which are exploring the title topic A Good Neighbor. In addition to the contemporary art program, the biennial will include ten feature and five short films all curated by Elmgreen and Dragset. The films (as well as the art) will look at the concept of home as a means of portraying identity and the intricacies of community and co-existence. The 2017 Istanbul Biennial runs from September 16-Novermber 12.
Regardless of your medium, I hope this glance into the minds of two established poets from very different walks of life can help dissipate the intimidating mist between process and product, as well as remind you that the transcendent and the familiar are often one in the same.
Global spectator 
Myles, a breathing artistic currency, treats poetry as an extension of the self with the potency of a movement and the collective memory of a civilization. Myles proves that common experience and abstract phenomena are synonymous when we step back to look.
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Everyone from trendy teens to famous fashionistas can begin exploring the infinite uses this easy-to-follow guide provides to making handbags so fashionable, you won’t actually believe they’re made of duct-tape. Part art-piece, part usable accessory, Fabian Morgan shows how each of these gorgeous handbags can be recreated one manageable section at a time.
