How to Write a Good Artist Statement

By Loney Abrams

Writing about art is hard. Writing about art that you made can be even harder. We hear artists say, “If I knew how to describe my work in words, I’d be a writer, not an artist.” While this may be true, what’s “truer” is the fact that at some point, you as an artist will be asked to write an artist statement—and whether or not it is good, will matter. So, what makes an artist statement “good”? Whether you’re applying for a residency or grant, or you just want to perfect your elevator pitch, here are a handful of things not to include in your artist statement, plus a few tips to make the process a little less excruciating. 

1. Your Artist Statement Is Not “A Piece”

Resist the temptation to use this as an opportunity to write a poem or subvert the “institution of the artist statement.” We get it; you’re an artist. We really do just genuinely want to know what your art is about. Please tell us.

2. Oh, You Loved Art as a Child? Join the Club

The worst way to start an artist statement is with the following words: “Every since I was a little girl, I’ve always loved making art.” Unless you were literally raised by wolves or grew up in a hermetically sealed suite a la Bubble Boy, this is not interesting information. Most kids love art, and regardless, having a long love affair with your craft doesn’t mean much—it’s what you have to show for it that counts. There is really no need to explain when you became interested in art.

3. Avoid These Words:

Juxtapose
Humanity
Human condition
Concerns
Chaos
Uncanny (unless it truly, truly is uncanny. Look up the definition.)
Notions
Speculative
Explores
Rupture
Troubled
Liminal
Controversial (unless it actually sparked controversy.)
Deconstructs

4. Just Use Fewer Words in General

Don’t convolute your sentences by beating around the bush. For instance: “My art practice is concerned with exploring notions of gender” really means, “My art is about gender.” Or, “I’m interested in investigating ideas and concepts surrounding notions of race” becomes “I investigate race.” Be specific and don’t use vague words that keep you from getting to the point.

5. If Your Work Is About You, Why Should We Care?

If you’re making art about your personal experience, fine. But the question you have to ask yourself is, “Why is my personal experience relevant to anyone but me?” What does your experience say about the world you live in? What can people learn from your story that might be useful to them? Use your experience to illustrate some larger issue, topic, culture, or idea that others can relate to or learn from.

6. Find Help

Not everyone is a good writer, and that’s totally okay. You shouldn’t need to be able to recite the Chicago Manual of Style verbatim to write a good artist statement. But don’t let your lackluster writing skills be an excuse for a sloppy statement. Find a wordsmith, buy them a beer, and ask them to help you edit your text. Not only will a poorly written statement make your ideas harder to understand, but grammatical errors could also come off as evidence of apathy and irreverence towards whatever opportunity you’re vying for.

7. Don’t Say Your Work Is Interesting—We’ll Be the Judge of That

Remember what your middle school English teacher told you—show, don’t tell. Describing your work as meaningful, captivating, groundbreaking, beautiful, or interesting doesn’t tell your reader anything about what your work actually is. (Plus, it comes off as a little cocky.) Instead, write about your work in a way that shows how it’s interesting.

8. Don’t Reference Deleuze Unless You Absolutely Have To

In general, it’s probably best to avoid relying on the ideas of other people to prop up your work. But if you really must reference a philosopher, critic, or theorist, make sure to write a very brief (could be five words) description of who that person is. Don’t assume everyone who reads your statement had the same liberal arts education you did. In terms of referencing other artists: if your work intentionally and deliberately references other artists, and these references are integral to the meaning of your work, by all means, name the artists you reference. Otherwise, do not compare yourself to other artists, e.g., “Like Picasso, I paint…”

9. Know What “International Art English” Is, And Void Using It

In 2012, Alix Rule and David Levine brilliantly and hilariously wrote about what they called “International Art English”: the “the curious lexical, grammatical, and stylistic features” too commonly found in art-world press releases. Here is a tiny excerpt, but do yourself a favor and read the entire thing:

“IAE has a distinctive lexicon: aporia, radically, space, proposition, biopolitical, tension, transversal, autonomy. An artist’s work inevitably interrogates, questions, encodes, transforms, subverts, imbricates, displaces—though often it doesn’t do these things so much as it serves to, functions to, or seems to (or might seem to) do these things. IAE rebukes English for its lack of nouns: Visual becomes visuality, global becomes globality, potential becomes potentiality, experience becomes… experiencability.”

10. Write About the Most Interesting Aspects of Your Work (Not All Aspects Are Interesting)

Explaining your process can reveal something about your work that isn’t immediately known by just looking at it. If this is the case, explain away. But for most artists, this play-by-play account just isn’t necessary. For instance, if you’re a painter, there is really no need to mention that you begin your day by priming your canvases, or that your artwork always begins with “an idea” or “a sketch.” Figure out what makes your work unlike other people’s and focus on that. For some artists, that is their process, for others it might be their research methods, or concepts, or relationship to art history, etc.

11. Keep It Short and Sweet

If you’re applying for an opportunity like an artist residency, art school, or a grant, chances are your artist statement will be one of many. Keep in mind that the person reading your statement may only have time to skim the first few lines, so if you can succinctly describe your practice in four sentences, do it. Less is more. You don’t want the success of your application to rely on whether or not your panelist can read 2,000 words in 60 seconds.

12. Your Love for Making Art Doesn’t Justify its Worth

Please, please, please don’t write about how much you love painting, or how fun it is to be in the studio, or how ceramics is a form of therapy. Don’t get it wrong—we’re very happy for you if you feel these ways, and we understand that working creatively can be a very uplifting and joyful process. But here’s the thing: your experience of making your art in no way influences our experience of looking at it. This may seem counter-intuitive, but an artist statement is not about you, the artist; its about your work, the art.

13. Talk It Out

If you’re having writers block, don’t give up. Download a voice recording app on your phone and record yourself talking about your work out loud to a friend (or your cat.) After you transcribe your speech and edit out the likes and ums, you might be surprised with how good it sounds. And if not, at least you’ll have something down on the page that you can work from. Text that is conversational and seemingly effortless is easier and more fun to read that text that seems like it was painstakingly laborious to write.

14. Obviously, Describe Your Work

If someone was standing in front of your art, what questions might they ask you? What could you tell them that would give them a richer, more informed viewing experience? Write about your work in a way that will add something to the viewing experience, not just summarize it. If you’re having trouble getting the juices flowing, here are a few questions you can answer to get you started (just remember, you don’t need to address all of these in your statement.):

Why did you make the art that you made?
What does it say about the world?
What does it help people understand?
What does it look like?
What did you make it out of and how did you make it?
How does it address the history of its medium?
What sort of culture, topic, or issue does it describe?
What do you expect your audience to gain from it?

Galleria Ca’ D’Oro x CITCO – Miami Art Week Event – This Saturday 3pm to 8pm.

RSVP : [email protected]

About CITCO

In 1990 CITCO came about, in the heart of Verona’s marble district, operating in the field of extraordinary inlaid marble surfaces and furniture complements.

CITCO have reinterpreted the concept of luxury and modified the perception of marble. Advanced technologies now let designers give unexpected forms to marble, but it cannot become truly unique without the exceptional skills of highly qualified craftsmen. Citco’s secret, to offer true works of contemporary art, is the renewed focus on this tradition of handiwork.

CITCO products have an extremely select international market, which, in order to grow, entrusts itself to the word of mouth of those, customers and professionals, who have had the opportunity to experience its excellent quality.

CITCO collaborates with renowned international designers such as Norman Foster, Ferruccio Laviani, Arik Levy, Daniel Libeskind and Zaha Hadid Architects.

About Galleria Ca’ d’Oro

The Ca ‘d’Oro Gallery , a historical place of exhibitions for the greatest names of  twentieth century art and expression with an incessant artistic and intellectual vivacity for over forty years, is today an important center for the promotion and dissemination of creative talent, Italian and international.

Heir to the San Bernardo Gallery , opened in Rome by Amadore Porcella in 1945, the Ca’ d’Oro opened its doors to the public in December 1970 in its original location on via dei Condotti.

Inaugurated in 1990 by Antonio Porcella , director of the Ca ‘d’Oro Gallery as well as councilor of the Giorgio and Isa de Chirico Foundation , the space in Piazza di Spagna focuses its activity on the idea of ​​art as an indispensable value for cultural growth, becoming a stage for unique events.

The preparation and experience of Antonio Porcella in the field of art have marked the culture of the capital, bringing artists such as Giorgio de Chirico, Renato Guttuso, Giacomo Manzù, Salvador Dalì, Carlo Carrà, Bruno Caruso, to the city and from the city to the world, Alberto Sughi, Ruggero Savinio, Corrado Cagli, Ennio Calabria and Renzo Vespignani.

The Ca ‘d’Oro Gallery has always stood out for its artistic sensitivity, intellectual gaze and historical professionalism, which have united four generations of the Porcella family, whose art gene has revealed their own attitude to each one: Alpinolo Porcella , artist and writer (1874-1962), his son Amadore Porcella , who from painting devoted himself to the study of art to become an international critic. His lectures and lessons in the History of Art at the Pontifical Bolivarian University of Medellin (Colombia) are precious. The son Antonio, loving art from an early age, managed to start the gallery activity first in the headquarters on via Condotti and then in Piazza di Spagna, where he passed on his passion to his daughter Gloria, who is now responsible and curator of art of the Ca ‘d’Oro Gallery.

Promotion and enhancement of contemporary art are the guidelines of Gloria Porcella , who in recent years has been assisted by Lamberto Petrecca in the organizational and artistic design work. Together they are able to grasp the artistic signs of the present and make each exhibition and create a significant moment in the history of national and international art.

Gloria Porcella with enthusiasm, courage and professionalism enhance contemporary artistic expressions, promoting art in its being revelation, reflection, provocation, disturbance and a sign of social. In this spirit, starting from 1997, the portfolio of artists linked to the Gallery has been enriched with names of the caliber of Seward Johnson, whose works it holds the European exclusive, Alfredo Rapetti, Erika Calesini and the Cracking Art Group.

In December 2010, during Art Basel Miami, the Gallery opened its new headquarters in Coral Gables with the installation of the REgeneration Art Project of the Crackin Art Group. Currently the Gallery is in the Ironside where it continues to promote Italian and European art with passion and enthusiasm.

A new major opening took place in 2015 when the new New York office was opened.

Since 2013 the Gallery has participated in the most important American art fairs such as Context Art Miami, Scope New York, Art Wynwood Miami and Art Southampton.

William A. Read
Brand Development

Phone: 305.864.3434, Ext: 126

Address: 1666 Kennedy Causeway, Suite 703, Miami Beach, FL 33141

Web: www.taraink.com

How to Curate Your First Art Exhibition—No Gallery and No Money Required

By Robert Grand

Exhibitions often look effortless, but don’t fall for that ruse! Putting together a show is a lot of work, and if you don’t know what you’re in for, you might find yourself in over your head. I’m here to tell you how to mount your first exhibition, on a budget, from start to finish—including all the speed bumps you’ll hit on the way. I’m speaking partially from experience (I co-run the project space Kimberly-Klark in Queens, NY) while also taking my friend’s experiences and horror stories into consideration. So if you’re curious about curating but put-off by the other high-reaching guides out there (e.g., “Does the museum have room in their annual budget for your proposed retrospective?”) then this guide is for you.

THE IDEA 

Flesh out your curatorial idea—write about it and talk it out with your friends. Don’t get too bogged down or overthink it though! You’re not trying to curate the next Primary Structures…yet. Once you feel confident with the idea and your wish list of artists, it’s time to reach out and make contact. Ask the artists if you can visit their studio one afternoon and see what they’re currently working on. If an artist is not local, try to organize a FaceTime or Skype session. The key is to keep your initial email short and snappy. Don’t spend too much time explaining every element of your idea or what works you think would be best for the exhibition—save those discussions for the studio visit! 

PLANNING

Now it’s time to plan the exhibition. If you don’t have a space reserved yet, don’t fret. First you should see if the artists are on board. Send a follow-up email to the artists you visited detailing your proposal, planned dates, and others that you’re hoping to include in the exhibition. Hopefully they’ll say yes! If they decline, however, don’t take it personally. Sometimes they have another show coming up and don’t want to stretch themselves too thin. So, don’t close the blinds, blast Belle & Sebastian, and cry into your fluffy body pillow—keep looking for another artist who could fit in your exhibition.

Once everyone is good to go, it’s time to find a space. You can send proposals to galleries but be sure to do your research first. Some do not accept unsolicited proposals at all, so…back to the drawing board on that one. For those that do accept proposals, scroll through their previous programming and see if your exhibition would be a good fit. Take note of their submission guidelines and be sure to follow them perfectly—not doing so can cause the directors to write off your submission in a flash. If they don’t provide specifications, you’ll want to send a sleek PDF with a paragraph or two about your show idea, why you think it would be appropriate for that specific gallery, the list of confirmed artists, and some images of the work you’d like to show.

If you’re having trouble finding a proper white cube, think of somewhere unconventional to stage the show. Maybe your friend has a spare room in their apartment that you can use for the weekend. Maybe there’s a park by your place that’s the perfect site for your exhibition about “art.” Either way, don’t be afraid to experiment.

Once you have a location confirmed, it’s time to hammer out the finer details. Finalize the show dates, installation schedule, and work drop-off with your artists and the gallery. Talk about work pricing and buyer agreements because, well, you never know! While on that topic, you’ll also want to sketch out a preliminary budget for the show, even if you have very little money to spend. You’ll have to splurge on some things, like beer and photo documentation, which we’ll get to later, so be sure to account for that! Also, talk to your artists about shipping costs and a return time frame if applicable. Galleries usually cover shipping one way (or both ways), and you may want to budget for that as well.

Some artists and curators I know like to build a scale model of the exhibition space in order to help them visualize the show’s layout. This is a great idea! If you have an idea of where you want each piece to be, install will (hopefully) be a little less stressful.

Next, you’ll want to work on the press release. Loney Abrams’s guide to writing a good artist statement is also very applicable here, and covers all the bases. There are a lot of different strategies for composing a press release but the key is to keep it compelling. It will serve as an introduction to your ideas and the show in general, while also hopefully enticing press to write about it, and people to come see it—so make sure it isn’t a snooze (or couched in such an obfuscating method of expression that your tentative audience is always already distressed by a substantial and incurable migraine when trying to make sense of it all).

Finally, promote the show! Send out the press materials to magazines, to event listing websites, and to your family and friends. Promote the show on social media. Tell people about it when you see them at an opening, poetry reading, or in line at Chipotle. You’ve been working really hard on this show, and you want to make sure people come out.

INSTALLATION 

The time has come! Your show is fast approaching, and it’s time to set up the space. Before pulling out the paint rollers, you’ll want to make a detailed plan. Determine how long it’ll take to prep the space, to install each work, and when you’ll be able to do so. Give yourself plenty of wiggle room. In fact, it’s best to plan for the show to be complete a day or two before the actual opening because something always goes wrong during install. Perhaps a piece takes longer to hang than expected, your drill battery runs out at the worst moment, or the floor paint is still wet days later. Best-case scenario, everything runs smoothly, you finish early, and then you’re able to pamper yourself before the opening—maybe fitting in a massage or mani-pedi.

After you’ve established a plan, head to the space and make sure it’s all ready to go. Scan the walls to make sure all the holes are patched from the last show and maybe add an extra coat of paint to the walls. Then, bring all the works to the gallery and lay them out in place. Take a look around and gauge how the work feels in the space. Use this time to make any last minute decisions about the work’s placement before they’re attached to the wall (or floor!).

When it comes to installing the work, it’s better to be safe then sorry. If you’re uncomfortable, don’t be afraid to ask the artist for help! If they’re local, they may be able to come by and help you hang their pieces. You won’t look unprofessional or unknowledgeable. Most artists actually prefer to install their own work so they can be certain it looks absolutely perfect. If your artist is not local, ask them for specific install instructions (diagrams! phone photos!) and ask a friend to come over and help you. No matter what, make sure you aren’t the only person installing. The less you’re trying to juggle, the less likely you are to damage an artwork.

For the rest of the install process, try to keep to your schedule but not grow overwhelmed. Installation is usually stressful and intense, so take a few breaks. Walk around the neighborhood for a few minutes, breathe deep, and keep telling yourself “it’ll all come together soon.” Flipping out is going to get you nowhere—instead, focus that nervous energy into excitement and motivation!

THE OPENING

Maybe you finished a day early and are coming over from the salon, or maybe you’re still sitting in the gallery pulling your hair out while sitting in a puddle of your own tears and sweat. As the old adage goes, “the show must go on” and honey, it’s almost show time! A good tip is to have a few of your close friends (or gallery staff, if they’re available) come an hour or two before the opening to help you with all the last minute tasks. This includes sweeping the floors one last time or moving all the tools to the storage closet. You’ll also want printed copies of the press release and works checklist, and plenty of copies of each—you’ll be surprised at how few are left at the end of the night. The checklist should have a thumbnail image of each work next to some text that lists its artist, title, materials, and dimensions. You might want to have an extra copy for yourself that also lists prices in case someone is interested in buying.

Now, onto refreshments. I know, buying alcohol is not fun—it’s a big expense and it’s usually gone in the first hour anyway. Free wine (or beer) has become an expected component, however, and breaking with tradition would not be a good look. Don’t feel like you have to buy top shelf stuff to make a good impression—a good Budweiser or Boda Box will do. If you don’t want to spend any money, and don’t mind doing a little extra work, ask a brewery if they would want to sponsor your exhibition. Smaller local breweries looking for exposure might be down to give you free drinks in return for some images from the event and a few social media posts. If you’re on a super tight budget, a sponsorship is worth looking into! Just keep in mind, it often takes a couple of months for them to process the request, so plan ahead.

Okay, everything’s set up and the doors are open. Relax! Grab a drink! Use the opening to socialize, have fun, and celebrate the hard work you’ve done for the past few months! It’s always nice to stop and chat with old friends, but don’t stay too close to them. This is the perfect time to go around the room and try to meet new people. Who knows, maybe you’ll meet someone who runs a space and wants you to curate their next exhibition.

Before we move on—try to think of a good after party spot! A lively karaoke club, a dive bar nearby, or a good spot for some late night grub works perfectly. Don’t worry about people showing up. Spread the word enough and a good crowd is bound to follow.

DURING THE RUN

So the opening is over, you finally got a good night’s sleep, and you’re feeling satisfied with all of your accomplishments. Snap out of it—it’s not over yet! There’s still more work to be done. Don’t worry—nothing will be as strenuous as install.

First, you’ll need to document the show. There are a few different ways to go about this. If you have a friend that is a photographer, perfect! See if you can trade some art for their labor or pay them in pizza (yum). You could also rent a camera and try to document the show yourself. The important thing to remember is that your exhibition is temporary but diamonds…I mean, documentation is forever. You don’t want to have sloppy photos, and your artists won’t either.

Once the images are done, it’s time to send them out. There are plenty of great websites that feature exhibition images—like Art Viewer, AQNB, and OFluxo. Follow their submission guidelines to a T and maybe your images will get posted!

The best piece of advice I’ve heard is to live in the moment. I know too many artists and curators who get bogged down by the question of, “what’s next?” Next?! You just spent months working on this show! Instead of worrying about what’s next, think about what you can do to maximize the focus on your current exhibition. Organize an event, like a screening or lecture, to make use of the space while you have it. Reach out to artists, curators and writers you admire and try to schedule appointments. One-on-one walkthroughs are really special, leading to great conversation and some honest critique. Take note of their feedback—it could help make your next show even better than the current one.

WRAPPING UP

After the show closes, make sure to take down the work and return it to the artists promptly. Repair the space to its original condition, patching up all holes and repainting any scuff marks. You could host a post-closing dinner party, as a nice “thank you” gesture to the artists and space owners.  Finally, use this time to reflect on what went well and what went wrong with the show so that you can be better prepared for next time. And keep in mind that something will always go wrong.  The trick is not how to make everything perfect, but how to roll with the punches. 

Art Box

The idea behind Art Box was inspired by the current lack of enthusiasm in kids for hands-on, artistic activities.

Mayfair in the Grove
2911 Grand Avenue
Suite 400E
Coconut Grove, FL 33133

Phone: 305-778-1270
Email: [email protected]

KIDS ART CLASSES

Here at Art Box, we have lots of ways for your kids to have fun and explore their creativity!
From In-Studio Lessons to At-Home Lessons and even Video Lessons, we have something for every style of learning.

ADULT ART CLASSES

Our Art Therapy workshops are open to absolutely anyone! While we believe that all forms of art are therapeutic, these workshops are specifically designed with an emphasis on the healing and meditative qualities of art-making.

TEENS ART LESSONS

Art Box’s Portfolio Prep program is designed to cater to all students, no matter what their personal goals are or what the requirements and specifications of their application may be. Our experienced and qualified staff works with all levels, from 12 year old students applying for magnet programs to high school graduates looking to achieve a college level body of work.

Sofia Art Academy

Teaching classical art classes since 1993

(305) 949-1617
[email protected]

Sofia Art Academy is a classical-style private art school, that gives a great opportunity to study fundamentals in classical drawing, painting and composition. A series of tasks (cast drawing, cast painting, drawing and painting from still lifes and live models) are done through levels by a student. Students must complete each task to the instructor’s satisfaction before progressing to the next. As students acquire each skill with strong emphasis placed on accurate observation and construction of proportion, shape, tonal value and color, new and more challenging projects are assigned. This system is referred to as “academic training with systematic progression” or “systematic teaching and learning.”

Main Program
We offer individually-based classes for children and adults
Sofia Art Academy’s program is very unique. It’s based on traditional teaching methods of European special art schools for kids, colleges with BFA and universities with MFA programs, all in one. Just like in traditional, nineteen-century’s art ateliers, we offer the opportunity to study classical drawing and painting techniques with master artists. Our program developed to enable students to gradually build very strong fundamentals in academic style, from beginner to professional level.

Sofia Art Academy offers four-level program for different age categories:
Kids – ages 5-9
Kids to Teens – ages 9-13
Teens to Adult – ages 13 and Up
Short description of levels:

Beginning level
Constructive drawing and painting of simple objects and forms, sculptures, and still lifes. Introduction of composition (Creative imagination).

Second level
Constructive drawing and painting of complex objects and forms, sculptures, and still lifes. Basics of composition (Creative imagination).

Third level
Constructive drawing and painting of complex objects and forms, sculptures, and still lifes. Basics of composition (Creative imagination).

Fourth level
Constructive drawing of human muscle anatomy, head, torso and full figure. Life models portrait and figure drawing and painting.
Advance composition (Creative imagination).

After completing all four levels students enter

Master’s levels 1, 2 and 3
Advance figure drawing and painting. Study and development of figurative and stylized compositions.
Teens Art Lessons

Painting with a Purpose

Painting with a Purpose Give Back Program.
The founders of Painting with a Twist met while giving back to their local community and that commitment to give back lives on through our Painting with a Purpose Program. Each month, our studios across the country host Painting with a Purpose events in collaboration with local non-profit organizations where proceeds from the event go back to the organizations. To date, we’ve raised nearly 7 million dollars for local non-profits such as Habitat for Humanity, Multiple Sclerosis, Odyssey House, and the Vera Bradley Breast Cancer Foundation.

Miami Design District

7657 Biscayne Blvd Miami, FL 33138
WE ARE NOW LOCATED 2ND FLOOR OF 7699 BISCAYNE BLVD

Creative Cove

6998 SW 47th Street Miami, FL 33155

(786) 391-2354

[email protected]

creativecove.net

Miami’s first Arts and Craft Studio in the heart of the Bird Road Art District

Offering Birthday Celebrations + Private Events for Kids and Adults

Creating a one of a kind experience through Arts and Crafts

Book us for your next event!

Birthday Parties starting at 4 year olds

Bridal Showers

Baby Showers

Corporate Events

Team Building

Girls Night Out

School fundraisers

AND MORE!

After School Kids Craft Club

Ages: 6 years old – 12 years old | Cost: $96 per month $24 per class

** includes most project materials
** siblings welcome and discounted 10% if in the same household
Once a week class: You can choose Tuesday or Thursday 3:30pm | 1 hour -1.5 hour

We are starting with the month of September as virtual and will make decisions on in person after school programming at a later time.

Material List will be emailed to you for basic art materials for purchase. We will also we sending out materials for projects to your home. Please indicate if you prefer pick up or delivery when signing up.

Luly
Hi! I’m Luly! I am the creative director and owner of Creative Cove. My infatuation with the Arts started at a young age painting the hallways of my parents home (this was before washable markers) that blossomed into a genuine appreciation and passion for the Arts. Creative Cove is all about fun, adventure, inspiration and new experiences. We strive to create a one of kind experience for your little artist through our programming ( minus the painted walls) I hold a Bachleor’s of Fine Arts from Corcoran College of Art + Design in Washington DC, and a Master’s in Fine Arts from the Cranbrook Academy of Art in Michigan.

My background is in teaching college level sculpture and special needs art K-8th grade. Before opening Creative Cove, I worked as part of the Display team at Anthropologie transforming everyday materials into magical displays. These life experiences has helped me develop my expertise and I am so proud we are able to share it with you and your families!

“I believe everyone is creative. Creativity is about learning to use your senses, and giving yourself the gift of time to play and discover. ”
— LULY , OWNER OF CREATIVE COVE

ROGER MARI ART

The Palms at Town & Country
8306 Mills Dr, Miami, FL 33183
(305) 270-8284

Small group settings, beginners class to draw and start to paint in acrylics, quick and simple classes to build up their confidence to advance. 

I enjoy teaching students and help them to advance. I do also learn from them, we exchange ideas if the student shows interest I can help them to be ready for his/her first exhibit.

What is your typical process for working with a new student?

We start with simple forms and expand drawing technics then we start advancing to nature or any project the student wishes to do

Student needs to start a Sketchbook, HB, 2B, 6B pencils, Eraser. 

What education and/or training do you have that relates to your work?

74-78 Valle Abierto School (Art after school program) Venezuela
84-86 Higuera Institute, Venezuela
86-88 Cedi-art, Venezuela
89-2000 Move to Miami USA and work alone
2017-18 Portrait Work with Maestro Abdon J Romero, on an atelier School setting. 
2018-19 Figure Painting and drawing with Maestro Jesus Emmanuel Villarreal, on an atelier School setting.
2019  Figure and portrait Drawing or painting with live model Art Florida Academy, open studio setting.
2019 May 24-26 Figure painting Workshop with Maestro Jesus Emmanuel Villarreal.
2019-2020 weekly drawing schedule with a live model at Art Florida Academy, Sonia Hidalgo Studio.
2019-2020 drawing biweekly schedule with a live model at Alejandra Goldberg and Edin Gutierrez studio.

Do you have a standard pricing system for your lessons? If so, please share the details here.

$25 per hour

How did you get started teaching?

Helping another artist to build up their confidence in drawing and other art technics to improve the quality of the presentation.

What types of students have you worked with?

Beginners and firstime painters.

What advice would you give a student looking to hire a teacher in your area of expertise?

Build a habit of sketching daily.

Painting Classes
Abstract Painting Lessons
Acrylic Painting
Lessons Drawing Lessons

Art Classes in Wynwood

It will be our pleasure to assist you this 2020 in our Wynwood studio/gallery

OUR LOCATIONS: 

WYNWOOD – 151 NW 36 ST. MIAMI Fl 33127

PALMETTO BAY – 14115 S. DIXIE HWY #C, MIAMI FL 33176

We are located in Miami, Florida – United States of America.

Our art centers are focused on providing high-quality service & customer satisfaction.

Our art academy was founded in 2007

For more information or to reserve your spot simply email us at 

[email protected]

Our staff is experienced and certified.

 Our Gallery Studio Offers Adult & Children Art Classes ,

Exhibition Space & Artist representation

We are located in Miami, Florida – United States of America.

Our art centers are focused on providing high-quality service & customer satisfaction.

Our art academy was founded in 2007

Our staff is experienced and certified.

 Our Gallery Studio Offers Adult & Children Art Classes ,

Exhibition Space & Artist representation.

Children & Teens Art Classes

Winter Break starts on November 21st 2020

All classes during winter will take place at Palmetto Bay studio

SATURDAY KIDS ART CLASSES at Wynwood resume in January 

Every Saturday Morning 9:00 am to 12:00 pm 

Saturday Classes are for kids 8 years old and up !

Per day pre-registration is required on Saturdays

AFTER SCHOOL CLASSES

 MONDAY AFTER-SCHOOL CLASSES for kids

Monthly after-school program for kids 8 yrs old and up after 3pm

ONLINE CLASSES AVAILABLE: Painting: Acrylic & Mixed media session

Drawing: from basics to advance Sculpture: Building a vase in clayArt history: Surrealism 

MOTIVATIONAL PAINTING CLASSES

305.781.0991

Do you want to have a Sip and Paint?  We travel to you! We offer Virtual Painting Classes. Book Now In-Person or Virtual.

THERE IS A MASTERPIECE IN YOU, WAITING TO COME OUT.

WHY CHOOSE PAINT WITH FAITH?

We are Paint with Faith. We believe you can do all things, and we want you to believe you can do all things as well. When you complete our painting class with a masterpiece, then what else could you achieve in your life with just some motivation, guidance, and just some Faith in your self. We currently offer art classes with Parks and Recreation Departments, Senior Assisted Living Facilities and Medical Companies, and Various Non-Profits for STEM and afterschool programs.

Children and Senior Citizens only $15 per person (shipping fee not included in price)

Kids love art classes and and it helps them express who they are as a creative individual. Painting classes helps seniors citizens find a new vigor for life. Paint with Faith has benefits for all ages:

• Imagination

• Faith in one’s ability 

• Mental clarity

• Stimulates neural development

• Enhances fine motor skills 

• Enhances cognitive abilities 

• Boosts drive, focus & concentration 

• Wards off depression

• Visual Art Therapy

Private Parties Only $30 per person (shipping fee not included in price)

Paint with Faith Private painting classes will bring the Sip and Paint Studio to any location.  Whether you want to enjoy an art class or paint party we come you 

in-person or virtually.

• Birthday Parties

• Girls Night 

• Marriage,Youth, Youth Ministry

• Singles Fun Night

• Summer, Winter, and Spring Camps 

• College Student Life Activities 

• Corporate Team Building Activities 

• Business Networking 

• Sorority and Fraternity Activities

There are so many ways to get involved in our PAINT WITH FAITH art classes community.  Drop us a line to find out about sip and paint events, painting classes opportunity and fundraisers!

PAINT WITH FAITH

PAINTING CLASSES MIAMI

Instagram: @artclassesmiami  

Contact: Ph. 1-786 406 9915

Do you need any information in English or Spanish ??

Art Center established in 2007 in Palmetto Bay at 14115 S. Dixie Hwy #C, Miami FL 33176

This art center offers art classes and workshops for adults and children, artist representation & exhibition.
Our art schools have prepared hundreds of students since established in Miami. We are proud of our record of having most students being admitted  to the art magnet programs they applied.

Portfolio preparation

Children drawing classes

Children painting classes

Therapeutic art sessions

Adult painting classes

Please feel free to contact us for an appointment. We will be happy to assist you.

[email protected]

1-786-406-9915

ART CENTER PALMETTO BAY
​14115 S. Dixie Hwy #C Miami FL 33176

Director: 
Architect Ana Carolina Moreno
​
Instructors:
Teresa Cabello
Gigi Pons

Welcome to the Zigzag Zebra art studio. We offer classes, workshops and parties for children who love art. It is a fun, creative place where kids can learn about the artists and create projects using interesting materials. Activities include drawing, printmaking, painting, sculpture and collage techniques. 

At the Zigzag Zebra, we take traditional art concepts and integrate them into unique, 
age-appropriate lessons. Our goal is to provide a safe, nurturing environment where children can discover the joy of art. We supply the tools and ideas, kids supply the mess!

(786) 853-1889
email: [email protected]

The Art Shack Miami 

The Art Shack Miami – Visual Arts Classes, Courses & Creative Experiences For All Ages in Doral, Miami

9831 NW 58th St Suite 145, Doral, FL 33178

[email protected]

(786) 664-8893

“Creative Classes for Kids, Teens & Adults. Portfolio preparation for Magnet, Charter and college. Painting, Drawing, Sculpture, Mixed Media, Tinkering, Comic and Cartoon, Photography and much more. Private Parties & Events, including Team Building, Employee Recognition, and more. Public Workshops, Art & Wine nights, Family Classes. Host your event at our location or we come to you.”

Over 14 years of experience preparing kids of all ages to apply to Magnet, Charter and College level Art Programs, with a 97% acceptance rate of our students to the best programs in town and the country. If your child is interested in an art related career, contact us to schedule a diagnostic eval.

Have an interest in Photography, Comic & Cartoon, classes for your Homeschoolers, Art & Wine events? Click the yellow button to find out more.

Enjoy Family Classes: create memories, create together!

HAVE YOU HEARD ABOUT MAGNET SCHOOLS & CHARTER ART SCHOOLS?

Have you heard about Art Magnet Schools? These are middle and high public schools consistently ranked in the top 100 public schools in the country. They have high academic standards and outstanding Art Programs. The Schools:​

• DASH
• New World School of the Arts
• Coral Reef
• Dr. Michael Krop
• South Miami Middle Community School
• Southwood Middle
• Doral Academy

• Miami Arts Studio
• Miami Arts Charter (MAC)
• BridgePrep Academy of Arts and Mind
• South Miami K8 Center 
• Arthur & Polly Mays Conservatory of the Arts

Using our 11 years of experience preparing kids, we coach your child in creating a unique and original portfolio, and prepare him or her in audition and interview techniques. Former students in DASH and New World share their experiences and give additional tips. Additional coaching via email and text is available 5 days a week. Call or email to schedule a 1.5 hour class  diagnostic interview to apply ($36.50).