Tag Archives: uriél dana

Writers Guild Foundation: Veterans Writing Project

Beginning  May 14, 2016,  I was chosen for a year’s tutelage with the Writers Guild Foundation in Beverly Hills. The Foundation is attached to the Writers Guild of America, who represent screenwriters & playwrights nationally.  I was fortunate enough to be one of only 50 people selected from applications that were received all across the US.

Writers Guild Foundation Veterans Writing Project
Group photo of all the mentors & students on location in Beverly Hills. I’m the long haired blonde in the middle.

I can not express the gratitude I have for being part of the Writers Guild Foundation 2016 Veterans Writing Project. Two days alone was life changing, can’t look forward to what the rest of the year brings! Thank you Final Draft with gifting each participant with a one year subscription of Final Draft 9!


Losing Heart

© Uriél Dana 2015.

An artist I know recently threw out years of meticulously produced work. He spent thousands of dollars and hundreds of hours for an exhibit and no one bought one piece. My heart broke for him because anyone who creates knows how vulnerable that create/share space can be.

These are my words to him, myself, and to every artist.

“Art use to make people feel the wonder of life and the connectedness of us all. With PC’s at home and on our phones, an illusion of being alone or separate has taken over.  A gluttony of digital images has made people blind and being accosted with over produced noise has made us deaf.  This psychic water boarding is raping the cultural heart from our world and in 15 years we will be planet IKEA.  Be the caretaker of your own creative treasure for the future”.

You can see more of my artwork here.


Artwork: “Losing Heart“, Uriél Dana, ©2008.  Conté on Board

Featured Art: Central European Biennale, 2016

Bay Area fine artist Uriél Dana featured in the catalogue (in German) from the Central European Biennale heldin January 2016 in Austria at Castle Hubertendorf.   Uriél had 4 paintings listed in the book.

You can see more of her artwork here.

The Mystical Symbolism in a Gage Taylor And Uriél Dana Oil Painting

© Uriél Dana 2017.

Painting SymbolismGage Taylor and I rarely painted large oils. Hindsight is one of the three largest. Painted on multiple sanded coats of gesso on a surface as smooth as skin and in layers of oil glazes that create a multidimensional depth. This painting embodies every universal archetype from the East, the West, and the Middle East found in a Taylor Dana painting.

Many cultures around the world use the temple as a symbol for the body, either literally, like the great cathedrals of Europe, or metaphorically, as in the chakra system. The body or temple represented a portal to our soul in a Taylor-Dana oil.

Each of us is a temple of treasure, and as we explore that treasure, we often discover jewels within ourselves we may not be aware of. (The hidden treasure in the background).

We used carpets as the symbol for the secret doctrines, inspired by the flying carpet legends, which evolved from the use of prayer rugs.

Cats, large and small, were used in temples all around the world because of their ability to sense the non physical as well as the physical. Cheetah’s were a favorite of ours because they are the most telepathic and dog like of the feline kingdom. Joy Adamson (author of the well known book and movie, Born Free), kept and studied Cheetahs for years and revealed their astonishing personalities in a book called, The Spotted Sphinx. We embraced their character often as a symbol of the higher self.

You can see more of my artwork here.


Artwork: “Hindsight”, Uriél Dana & Gage Taylor, ©1988.  Oil On Canvas (Gage Taylor died in 2000).

Featured Cover Art: Rattle Magazine Winter 2015

Peace on Earth has been selected as the feature cover for the Winter 2015 edition of Rattle Magazine.

Featured Art: Studio Visit Magazine Winter 2015

Studio Visit Magazine Feature

Bay Area fine artist Uriél Dana is featured in the Winter Edition of Studio Visit Magazine, Volume 32. Her oil paintings are inspired by San Francisco’s nouveau cirque culture. Uriél has said, “These are not just people in costume but represent a rich array of human talents that incorporate theater, literature, aerobics, dance, poetry and above all, mystery.” Humor and whimsy are also added to brighten the mood for what many consider dark times.

“For over three decades I have been known as a surrealist painter. I have also been a practitioner of Tibetan Dream Yoga since childhood as a way to control a sleeping disorder. Surrealism is defined as the mixture of two realities not normally found side by side. These two paths are intimately intertwined for me. This is how I have lived my entire life.

In 2011 I consciously began to paint people I think of as “living surrealists”. These are real people reinventing new ways to see the world. I paint them to inspire others to unleash their creativity and as a reminder to all that we can create our own, positive reality.”

You can see more of her artwork here.

Common Sense Rules For Artists Selecting An Art Agent

© Uriél Dana 2015.

Bernard Poulin recently asked on one of Linked In’s professional art forums, how does an artist find a legitimate agent/broker to represent our work? These are a few of my rules after thirty years.

There are some common sense things to watch for.

You ask for references and check them. You also ask for their art background or experience in the arts and check those references.

Read the person’s reactions to the work. Recently someone contacted me about agenting the work but when they came from out of state spent almost no time looking at the art, let alone engaging with it. (My place is a small museum with nearly forty paintings; the artwork is framed, tagged, and lit impeccably). Ok, I think, she’s not interested. She then asked for my client list? Sorry, that’s not how it works. This was a con artist wanting my client lists to sell other artists work to my collectors.

Agents have their own clients. Ask potential agents their primary area of focus? (Example, designers for hotels, private collectors, etc). An agent will make money off their clients wanting your work. Do not give them the name of your collectors, you’ll just be losing money and clients. You do not need an agent for clients you already have. Your clients would not be so for long if they are chased by your agent trying to sell them art.

Ask directly how much of a percentage do they take?

Ask, who pays for shipping, packaging, insurance? If you not get an answer it will be because they not know their business.

Never, give anyone exclusivity.

Never give anyone your art to keep to show or exhibit. You will have no way of getting it back if they are corrupt. You also have no idea if it will be insured or hung correctly to prevent damage. Agents use imagery off of a disk and bring private clients to you. (Never ask for their phone number or details of your agents clients. You will see neither agent or client again).

Whether agent or client, art should never leave your studio until it is paid in full.

Commissions require 50% down (non refundable) and must be paid in full before leaving the studio. Most agents charge 20% to 30% (depending on how much they do) and I add this to my price.

Do not let an agent undersell your gallery or it will ruin your career. In fact, never, never undersell a gallery yourself. Not to family, not to good friends. Galleries spend years building up your reputation with exhibits and advertising, and with it, your prices. If you undercut them no one will ever pay full price again. Your current collectors will stop buying your work because you have devalued their investment. Amateurs always think no one will find out. Trust me, it will get out and finding representation will be impossible once it does.

Agents will represent “you” in many venues. What does this person tell the art world about themselves; about you? Are they a Harvey Weinstein type predator or an elegant communicator such as Meryl Streep? The agent you choose will be strongly perceived as the kind of person you are.

Last, but not least, do not expect someone to rescue you. Know your own business. My Grandfather use to say, “Oi, you must know how to do your own books before you let someone else manage your money, or you won’t know if their cheating you!”