Artist can often feel like showing their artwork in a gallery is a sign of success. If this is you, galleries want to see consistency in art and work ethic, both of which I’ve noted earlier in this article. Natalia LL, Teoria głowy / The Theory of the Head [w:] Natalia LL. Teksty Natalii LL. Teksty o Natalii LL, Galeria Bielska BWA, 2004, pp. 121, 375.

Amedeo Modigliani, Nude, c.1916, oil on canvas, 92.4 x 59.8 cm (36 1/2 x 23 1/2 in), Courtauld Gallery, London. akg-images/André Held. From Body of Art Artists whose works have evolved with more directed personal mythologies include Rebecca Horn, Youri Messen-Jaschin, Javier Perez, and Jana Sterbak. [7] As critic Amelia Jones puts it, "Schneemann extended her sexualized negotiation of the normative (masculine) subjectivity authorizing the modernist artist, performing herself in an erotically charged narrative of pleasure that challenges the fetishistic and scopophilic "male gaze"."Some four decades later Rebecca Horn started making what she called ‘body sculptures’ – prostheses and masks extending and restricting the body. In 1968, while a student, she read Jean Genet’s semi-autobiographic novel The Thief’s Journal 1949, recounting his travels through 1930s Europe where he received an education in thievery mentored by the one-armed Stilitano, which became a key reference point for her. Horn’s Arm Extensions 1968 bandage the body and make the upper limbs scrape the floor, Pencil Mask 1972 enables drawing with the face, Scratching Both Walls at Once 1974–5 allows the arms to reach across a room. Like prostheses, her supplements are always for a specific person – and they fit into custom-made suitcases, not unlike those designed for medical equipment. Rather than aiding, though, her additions encumber movement, echoing Schlemmer’s choreography. Not only can you develop your skill and explore a wide range of topics when you create a body of art or work in a series, you can also build your credibility as an artist. When you post to your Facebook wall a mishmash of artworks you’ve created over time it can actually make people feel like you are all over the place. We have an inherent desire to go beyond our capabilities, to push beyond our limits. We study to increase knowledge, make machines to produce more than we can with our own hands, create devices to go faster, see further, speak louder and, when our bodies refuse to do what we think they should, we find ways to supplement them and exceed our corporeal boundaries.

If you want to sell online, you need to have an online presence, share the process and story of your art and seek to build relationships with people who would like your art. And you figure out who those people are with time, patience, and trial and error! That being said, if you have a genuine interest in marketing or promoting the art you create, EVERYTHING has a market. The issue is finding it. So. If you absolutely want to sell locally, you will only know by making a few pieces (like a small series of works) and testing their sale at local events. Let’s first make sure we know the difference between a body of art and a series . Really, there isn’t much of a difference, it’s more of a nuance. A series of artworks usually have a very obvious investigation or tie. For example, someone might decide to create caricature portraits of political figures. Because they are all about political figures (perhaps even specific to one country, we’ll say the USA), this would be considered a series.Building a series of artworks also reflects a level of confidence: you believe in your work enough to keep at it and continue down the rabbit hole. Body art is art made on, with, or consisting of, the human body. Body art covers a wide spectrum including tattoos, body piercings, scarification, and body painting. Body art may include performance art, body art is likewise utilized for investigations of the body in an assortment of different media including painting, casting, photography, film and video. [1] More extreme body art can involve mutilation or pushing the body to its physical limits. Horn was also interested in mythology, which shows up in Einhorn. The piece may be read several ways. Historian Skye Alexander argues that the "strap on" horn "recalls the unicorn's link to chastity" and the many complex sexualized associations evoked by a woman's naked body in classical art. But the single horn can also be seen a phallic symbol co-opted boldly here by a woman to offer a new model for empowering the female body, which embraces its own sexuality and lays claim to its own sexual power. In either case, Einhorn explores how the body (and particularly the female body) can be both enhanced and restricted by art.

Natalia LL. Sztuka i Energia / Art. And Energy, Muzeum Narodowe we Wrocławiu / National Museum in Wrocław, 8 XII 1993 – 27 I 1994, p. 37. The body can be seen and represented in so many ways; sometimes young and beautiful, sometimes wrinkled and abject; at certain moments powerful, erotic and sacred even, at other times broken, lifeless, disgusting even.When talking about Natalia LL, most people immediately think about the series of her photos depicting naked women in provocative poses, with various objects/food products. Photographs constitute Natalia’s most recognizable cycles: Consumer Art and Post-Consumer Art. Both series were created in the early 70’s, during the groundbreaking period of Natalia LL’s creativity shaping.