Skip to main content

Art Mentoring/Art Coaching Program




With Naomi Gerrard in Winnipeg, Manitoba

Over the past couple of years in my workshops, students have asked about getting one-on-one feedback or doing private critiques with me.  But one artist in a workshop this past summer, Jill Segal, suggested that I do an art mentoring program.  Thanks to her encouragement, I'm just launching it.

The Art Mentoring Program is intended as a distance mentoring program, to provide one-on-one guidance to artists no matter where they live.  The goal is to give artists feedback on their artwork and help them develop a cohesive body of work. There are few opportunities for artists to receive clear feedback and guidance about their work.  Our artists friends are generally reluctant to offer anything other than encouragement, even though they may think differently about certain of our paintings.  Encouragement is definitely helpful.  We all need that. But where do we get clear feedback?  Hard to find.  In workshops, we can get feedback for the work that is produced in the workshop.  But how does that tie together with the other work we like to do?  How can we create a body of work that is more unified?  The Art Mentoring Program will aim to address those issues.

It is intended as an ongoing process.  The artist will send me several images of their work by email.  I will spend some time with the images and we follow that with a telephone conversation to discuss the work.  Our conversation might focus on the process, the direction, the techniques, the elements of art, the body of work, etc.  There are many possible areas to focus our discussion.  The idea is to determine what the goals of the artist are and begin there.

I ask the artist to send me an artist's statement, a CV, their website if they have one, and to write out their short term goals for their work.  They are asked to commit to a minimum of 4 Art Mentoring sessions at a time.

I have had a couple of people ask me how this process would work if I don't actually see the work in person.  I remind them that when you submit work to a juried show, it is in a digital format.  The exhibition is juried by digital images.  When you apply to a gallery for representation, they want to see your images on your website.  If you apply for grants or artist residencies, you submit digital images. The original works are only seen when they are accepted into an exhibition.  It's your images that lead the way.

To find out more about the program and to register, please contact me at:
info@janicemasonsteeves.com

Comments

Popular posts from this blog

Meet the Owners of a Scottish Castle

Anne Tristine Nguyen, Ali Orr Ewing, their children, Ava, Atticus and  their dog, Harriet Beecher Stowe. Dunskey Estate, Portpatrick, Scotland Anne Tristine Nguyen and her husband, Alistair Orr Ewing are the owners of Dunskey Estate near Portpatrick, Scotland where I will teach a painting workshop in September. Dunskey is a splendid Edwardian castle on 2000 acres of ocean-front land with miles of walking trails. As well as daily workshop sessions in the studio on the top floor of the castle, our small group of artists will enjoy breathtaking hikes, superb accommodation and fabulous meals.  Not having met owners of a castle before, I asked Anne if I could interview her to hear a little of their background story and that of the castle. Can you tell me a little of your personal story and that of your husband, Alistair Orr Ewing? Anne emigrated to America when she was ten years old, but it was at an art gallery in Saigon, her birthplace, where she met Al

The Importance of Silence in Art

Gathering Light 60x60"  Oil on canvas © 2014 Janice Mason Steeves  Michael David Rosenberg, the musician known as Passenger, sings, "See all I need is a whisper in a world that only shouts." In the workshops I teach, I find that one of the most common problems with paintings is that they shout. Most have too much going on: too many small shapes, too much texture, extremes of colour, too many lines, too much, too much. One thing I say most often as I walk around the classroom working with students individually, is 'make bigger shapes'.  But not only bigger shapes. Quiet shapes.  Where can your eye go and rest in the painting? That isn't a consideration in much of contemporary painting or much of contemporary life.  Ours is a noisy world both visually and auditorily.  Ours is a world that shouts.  People are afraid of silence. I wrote a blog post  3 years ago about planning a retreat in my own home, where I shut off the computer and the phon

Lessons that Stone Walls Teach

Dry stone wall in the Burren, Co. Clare, Ireland   I've just returned from teaching a Workshop in Wild Places class in the Burren in County Clare, Ireland. Writing this post, I'm reminded of another post I wrote after visiting Inishmaan, the middle of the Aran Islands off the west coast of Ireland several years ago. Stone walls crisscrossed the island in tight webs like a fisherman's net. I wrote then that the web of stone walls made me think of the idea of putting limitations on our painting as a way of exploring more deeply and how walls give limits against the limitless. You can read that article   here. As our group hiked in the Burren with our guide, Marie McGauran we learned that the walls are stronger because of the holes in them. The wind can pass through. The oldest stone walls, estimated to be 3500 years old are at Skara Brae, a Neolithic site in Orkney. Most walls were built in the 18th and 19th century, marking areas of private ownership and resulting in poverty