( 2 ) You are thinking you might be able to get first dibs on plum
paintings produced during the granting period.
I think that artists are so grateful to get funding, they would be
happy to let me pick one or more paintings to keep in exchange for my help.
This is a poor attitude.
Artists should work knowing that they are supported specifically for their
gifts as artists -- not as access points for free paintings.
Artists are in agony when they lose control over the financial destiny of
their product. They need the chance to paint without worrying whether someone
will claim ownership of their best work.
If you want art from the artist you support, buy it.
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( 3 ) On behalf of the greater good, you want to guarantee some return
benefit to the community.
This would mean, for example, helping a disadvantaged group to make
a mural on a city wall, or bringing an artistic experience to prisoners
or old folks. There are innumerable ways that a painter could give something
back to the community.
This is a poor attitude.
Artists should work knowing that they are supported specifically for their
gifts as artists, and that the reason you support their painting careers
is that their fulfillment as artists will result in an enhancement to the
community.
Don't ask artists to do something else. Artists are in agony when their
work is delayed. They need the chance to paint.
To suggest that some other activity has the real value, not the artist's
primary activity -- painting -- implies that you do not value painting.
Fund someone gifted in the specific area you wanted to remove the artist
from painting to do.
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( 4 ) You require progress reports from recipients, so that you can
track the results of your investment.
It is completely appropriate to expect progress reports, so that
I can determine the results of my gifting decisions.
While I do not expect artists to meet specific deadlines for me, I WOULD
look at their fulfillment of agreements made with museums, education and
growth projects in which they participate -- and, of course, their continued
and focused efforts developing a studio practice.
What's wrong with that?
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(back one)
What's wrong with that?
Nothing!
You're Right!
Absolutely Right!