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Has the internet revolutionized your career?

Twitter, Instagram and Facebook have replaced print marketing, but how we use them remains the same.
Full Stop is one of my favorites from 2016. But will a juror like it as much as I do?
This is the time of year when plein air artists apply to shows. It’s not easy to look at the year’s output and try to guess which three paintings will most impress jurors. But at least it doesn’t involve slides. (For you young readers, those were 35 mm photo transparencies stuck in little plastic frames.)
In the old days, artists took (or, more likely, had a trained professional take) three bracketed exposures of each of their pieces with a film camera. Slide film’s exposure can’t be fixed in the developing process, and it was important that it be right. We repeated that a second time, because we wanted to be sure of our work. That meant that a 36-exposure roll netted exactly six unique images.  
Apple Tree with Swing was painted for Castine Plein Air.
The film was then sent off to a developing service. When the slides came back, we looked them over on a light table. The keepers were sent back out to be duplicated. All applications—which went off by mail—included a stamped, self-addressed envelope to return those precious slides.
The process was expensive and time-consuming. Whenever I see a $50 online entry fee, I think back to those days and smile.
Yesterday, Keith Linwood Stover of the Cyber Art Show asked, “Would you say that the internet (including social media) has revolutionized your art career?” It has certainly changed my work, but in many ways, the work itself remains exactly the same.
Flood tide has to be one of this season’s contenders because, well, boats.
Take marketing. I’ve just spent three days doing an overhaul of my spring marketing efforts. Meanwhile the paint for a project I’m excited about is jelling on my palette. Is that so different? Not really. I remember attending a seminar back in 1980, where we learned that we’d have to spend about half our time on marketing. We’re not doing it with physical portfolios anymore, but we’re still doing the exact same thing.
There’s no real fundamental difference between advertising in a magazine and advertising on social media. It all costs a lot of money.
Drying Towels was painted at Ocean Park.
Instagram occupies a similar niche to the art festival as a way to court new fans. The only people who miss doing art festivals are those who’ve never spent time in a hot, humid sales tent or unloaded a van full of unsold merchandise at the end of a terrible run. On the other hand, Instagram requires just as much work.
Plein air events themselves are a modern phenomenon. They started thirty years ago with Plein Air Painters of America, founded in California by Denise Burns. This group held annual paint-outs followed by a show. The format has been copied by countless other groups and events worldwide.
The point of these events is their immediacy, and their growth has been entwined with that of social media. Most well-run events use Twitter, Instagram, and Facebook to keep fans up-to-date on where and what we’re painting. Some maintain an online map telling fans our whereabouts.
How do artists know about these events and their relative prestige? We follow them on the internet, of course. In fact, the whole modern plein air revival is so intertwined with the internet that it’s impossible to separate the two.

Bucksport Cyber Gallery

“Rattlesnake Falls (version 2),” John Killmaster

“Rattlesnake Falls (version 2),” John Killmaster
One of the nicest things about social media is how much art I see. In particular, I love a feature in my Facebook newsfeed: Keith Linwood Stover’s The Cyber Art Show.
Stover is from Bucksport, ME. He started The Cyber Art Show as a Facebook page; today it’s a freestanding website with a few thousand Facebook followers.
“Snows above Lucky Peak,” John Killmaster

“Snows above Lucky Peak,” John Killmaster
he Cyber Art Show features landscape painting by mid-market artists. Its painters are usually still in the striving-and-discovery mode. They’re exploratory rather than polished. That makes The Cyber Art Show’s online gallery much more interesting than those that just trot out the masters.
This week The Cyber Art Show featured a painter who astonished me: retired art professor John Killmaster of Boise (ID) State University. Killmaster combines a Group of Seven sensibility with uproarious energy and a remarkable flair for composition. The result is kind of like rolling down Mt. Battie’s cliff side wrapped in a picnic blanket.
“Early Spring, Just North of Boise, Idaho,” John Killmaster

“Early Spring, Just North of Boise, Idaho,” John Killmaster
“My interest as an artist is to be witness to the gifts of life and vision; to capture not only that which my eye confronts, but to record my interaction both visually and emotionally, with the world around me,” Killmaster wrote. He certainly succeeds in that.
Killmaster holds an MFA from Cranbrook Academy of Art in Michigan. He began teaching at Boise State in 1970. Now retired, he is a member of Boise Open Studios and teaches in his studio in Middleton, ID. In addition to painting, he is known as a large-scale mural enamellist.
“Below the Glaciers,” John Killmaster

“Below the Glaciers,” John Killmaster
I regret I never had Killmaster as a teacher, but I can spend some time this weekend studying his compositions and the way he uses color to push the viewer through the chaos. For all the criticism of the internet as a purveyor of fact, it has freed up access to art. I would never have known about John Killmaster had it not been for The Cyber Art Show. I particularly like the idea that Keith Linwood Stover reached out from Bucksport to Boise to teach a Rockport artist something new.