Production & Operations Basics for Sculptors

sculpture

“While your art business may not require an assembly line,
it can certainly benefit from good production and operations management”

As a sculptor you make and create things and in many respects you have the same challenges as any other company that makes a product or provides a service. There is a field of study and practice in business management that concerns itself with making things called “Production and Operations Management”.

Production and Operations management is all about managing all of the things that go into making a product or service like materials, supplies, technology, methods and labor (called “Inputs”) and transforming them into a finished product or work of art (called “Outputs”). The overall goal of production and operations management is to produce goods and services in an efficient, cost effective and profitable manner while maintaining the desired level of quality – a goal you should have for your art business as well! Continue reading

Bryce Robinson: The Beginning of Jeske Sculpture Park

Bryce Robinson

Manhole Covers for Jeske Sculpture Park by Bryce Robinson

I had the chance to meet Bryce Robinson through a mutual friend and later found out that he had started Jeske Sculpture Park in his hometown of Ferguson, Missouri. The park is seven acres in the heart of the city of Ferguson, a name that drew even more interest from an outsider informed solely by the national media of the events surrounding Michael Brown’s death in 2014. What is more important was how one person could change the landscape of a community with a vision, hard work and art. Continue reading

David Greenwood: Vessels for an Inward Journey

 

David Greenwood

David Greenwood (American, b. 1944). Do You Still Love Me?, 1992-1993. Wood, paint, stain, dried plants.
Collection of the Artist. Image courtesy of David Greenwood

Boats have always captured the human imagination, and their associations run deep. In Virgil’s Aeneid, Charon the boatman ferries departed souls across the Acheron River into Tartarus, the Roman underworld. The central nave of the Christian cathedral owes its name to the Latin word navis, meaning ship. Boats were an integral part in Anglo-Saxon and Viking burials; the opening staves of Beowulf recount the elaborate ship-burial of Scyld Scefing, legendary king of the Danes. Multimedia artist David Greenwood’s exhibition Stop Motion, on view through May 17 at Michigan’s Grand Rapids Art Museum, is a witty and playful presentation of the boat and its many connotations. Continue reading

In the Studio with Liam Crichton

Liam Crichton

Platform Gallery, courtesy of the artist

As a former co-director of Platform Arts I had the opportunity and privilege to get to know the work of many exciting artists within its studios. Liam Crichton, a Scottish, Belfast-based artist, is one such practitioner, whose upcoming show shall take place in the gallery space above. In the run up to his June exhibition, titled S I L E N T V A L L E Y, I spoke with him about his project and processes.
Continue reading

Carl Zimmerman: The Image of Sculpture

Carl Zimmerman Sculpture

Interior with pool. Image courtesy artist.

Let’s be entirely honest, here: our aesthetic experience of sculpture, of work that moves through our world in the time-space continuum of four experiential dimensions (one of time, and three of space), by and large has little to do with the experiential at all. It’s arguable that we rarely actually experience sculpture as it was intended to be. Continue reading

Writing Grant Reports

reports-feature

Just as in most stories, the fundraising process has a beginning, middle and an end: The first part is the request (usually filling out an application) to some private or public agency for money; the middle sequence is actually performing the work or service for which the funding was requested; the final part usually is letting the agency know what was done with its money. Continue reading

In the Studio: Clayton Amemiya’s Anagama Firing Collaborates with Fire

 Amemiya’s path to becoming a world class artist has been unusual

Tsubo (jar), 2014, ceramic, wood fired, cobalt oxide spots, 13″ x 12″ x 12″

Ceramic artist Clayton Amemiya literally plays with fire during the 100-hour firing process in his anagama kiln, where temperatures rise to around 2300 degrees. It is raining night and day when I visit three times in mid-March to learn the firing process and to see the results. Continue reading

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