Getting Ready to be a Guest Artist

Big news.

I have been invited to be the guest artist at Main Street Art Studio in Hurricane, WV for August. The opening "Art Moves" will be July 26, 2014.

Boat at Kanawha Falls
Oil 

Once a month, Main Street Art Studio has an open house with music by a live band and refreshments. People can come in and simply enjoy themselves.

Hurricane, WV is a delightful small town and the main street has many unique family type businesses. See their website

It should be fun. Getting together with fellow artists and talking about what we are doing and enjoying an evening of music with friends.

Cathedral Falls
Ink Wash

I am going to show my recent artwork along with a few older painting I have not shown in years. Most of it will have a tie to West Virginia scenery.

I am including my recent works in colored pencil. I worked very long and hard to perfect these paintings Each represents about a months worth of work. They are also representative of the way things are going with colored pencil.

I have not decided if I am going to display any nudes. That really will be up to them. I kind of want to, as they are done in tinted charcoal, which in itself is unique.

But the display space is limited and I will need to cull the selections simply to keep the display interesting.

Art Moves is July 26, 2014 from 6-8 pm at Main Street Art Studio in Hurricane, WV.

Anyone in the area is invited to stop by.

Putting on your first Show part 4: the Reception

All the pieces should now be in place!



 


You have worked hard and now the show is coming together. All the pieces should be fitting together. Last step, is the opening reception or the meet and greet!







Having an Opening 

Depending on where and when you are displaying your work, you might want to have a little meet-and-greet with the public. The most successful shows do have a reception. For art galleries this is standard. So depending on your venue, you should plan on a reception near the opening date of your show.



Reporter interviewing guess at reception.

Even offices often have a lobby reception when they have artists in. This can be co-coordinated with the public relations department, or owner in a small office for an after-hours party. Coffee houses will often have a small party for new artists, but restaurants can be a little difficult for this. But you will find that your show will be more successful if there is a way for you to interact with people viewing it. For restaurants, having a night that they can say the artist will be present will make it more successful for both of you.



Eat Drink And Be Merry

The refreshment table should be neat and clean

What exactly should be involved? Something simple is called for. The emphasis is on the art, not the refreshments, but that does not mean the refreshments are unimportant. Keep it simple keep it relatively mess free and have lots of it. Finger foods that are easy to eat and hold are what is called for. Crackers and cheese are good stand bys, as are chips and dips, but with any dip, be a bit cautious. You don’t want something really drippy. While salsas are popular, most are drippy. So go easy on them. Cake is fine, but make sure you have time to cut it before hand. Cup cakes and mini muffins usually work better, the smaller the better. Bit size is the way to go. Finger sandwiches are really good, but unless you really enjoy making these, they can be a bit tedious. Cocktail rye is perfect along with easily spread-able spreads. Easy spread-ables! If they are too chunky and awkward people become uncomfortable with it, and that can have a negative reflection on the show. Sounds silly, but it is true. Easy things. Have many drinks; Coffee, tea, cold things in a chest of ice. Small serving drinks are usually easier on everyone than large 2 litter bottles that must be poured. And there is not waste later if all are not drunk up. If possible, ask a friend to be in charge of this. Receptions can easily become overwhelming and crowded. Having someone in charge is really necessary. Have paper plates, napkins, drink cups, etc. and have a good-sized waste can. And the table should be neat and presentable. A nice table cloth, neatly stacked plates, etc.

If you are having an opening in a coffee house or restaurant, you want to be a little backwards on what is served free. Coffee houses and restaurants are in the business to sell food, and usually they are having you in for little or no pay. So do not backhand them. I know one artist who brought in several carafes of coffee so his guests would not have to buy coffee from the shop owner. This is not good! She was very disgruntled to have a full restaurant and not sell but cups of coffee for the entire night! Yes, you can have a small tray of finger foods, but this was a slam on the owner who allowed the artist to display his work for nothing, she did not even take a commission from sales. So openly telling his family and friends not to patronize that coffee house was insulting.

People come to see the art.

Extend the Invitation

Go over what to expect at the reception with the venue. Each place has its own “rules” and expectations.

If the venue is a gallery, they will have established customs for this, and can guide you. Make sure you add to the reception by having your own list of people to invite. And invite everyone! This is a case where the more the merrier!

All For Sale and Sale for All

You art is most likely for sale. So prices should be either on the tags for each piece for in a catalog. Where this is displayed will depend on the policies of the venue. But there should be clear information on this. Most states require that you collect sales tax, and many towns or counties now have their own sales tax. Make sure you understand this and are prepared. Many states have sales tax charts you can download.

Handling Sales

At the reception, you should not handle the sales. There should be a helper whose job this is. Make sure you have a 3 sheet sales book. And make sure the sales person understand just how to handle this. Sales receipts are important documents. Receptions can get quite hectic, so make sure everyone knows what to do.

Have a 3-sheet book. You can get these at office supply stores. Top sheet stays in the book. Yellow or second copy is for the patron. Third or pink sheet is for the venue. The sales receipt should be filled out completely, with name, address, etc. This information will pay off in the long run. You really want to know who is buying your work. And make sure the person who is supposed to handle this understands it. My first show, my husband was to do this, but he had a great time with everyone and simply used the first sheet for the first sale, the next sheet for the next, etc, and did not use the 3 pages right. It did not matter to him, and afterwards, I had no records of what was sold or for how much. The only written copy was giving to each person as a receipt. It was very discouraging. It was not important to him, it was only my hobby, and he had a great time when he did not expect to enjoy himself. Grudging help is no help. This is where having someone who understands business and how important this is to you is really important. It is really hard to reconstruct afterwards!

Receptions can get quite busy!

Tagging Sales

If the venue requires that artwork remain on the walls for the length of the show, make sure you have sold tags. Nothing encourages sales like other people buying it. When that first sold tag goes up, it can start a feeding frenzy. People seem to suddenly realize that they can buy this stuff. You would think the presence of prices would clue them in, but such is not the case. It is like a light bulb goes off! I have see this happen time after time. When the first sale goes thought, people start thinking seriously of buying. In the art world most people are sheep and like to follow others. So have those tags ready. And sold should be in bright read letters. Nothing subtle here!

If people are going to be taking the artwork home as they buy, so much the better! Nothing encourages sales like things coming down from the walls. Know if the place wants you to replace art as you go, but do not replace it at the reception. empty spaces speak for themselves! wait a week before restocking!

Dress the Part

Press Comes to visit too!

This might sound silly, but please, dress the part. This is a reception highlighting your work and your art and you should be presentable. I don’t care what the stereotype of the mad artist is, but respect yourself and your guests. Dress the part. You are an important player here and neat clean dress is appropriate. Shower and if you are male, shave. You don’t have to dress fancy, but please be clean! No need to go the route of black tie and tails, but you should be able to put together a nice outfit. Make sure it fits. Too tight and too sexy detracts from the artwork. Expect the press and expect to have your photo taken. This is your first show, and how you present yourself will live forever in those pictures! Remember that publicity you worked so hard for, Now it pays off!

Relax





Relax and enjoy the reception. If you have done your homework, it should be an enjoyable experience. Smooze with everyone. They want to like your work.

Putting on Your First Show Part 3 Publicity





 

Build a better mouse trap and the world will bet a path to your door……..

…………………………………..not if they don’t know about it.

Which brings us to another painful topic,

Publicity

Publicity is not a four-letter word! And it is not only necessary for a successful show it is vital!



 Getting the word out

Your artwork is unique but you have to tell people just what it is that makes you unique and why they should care. So you need to get some publicity.

There are a not of way to do this. One of the most effective is still print. People relate to art and artists they see in local newspapers. These are their neighbors. It feels friendly.

Newspapers

Local Papers cover local people

Depending on where you live, it can be easy-difficult to get. If you are in a major market, submit the press release to the big papers, but also, to any local papers. Local papers will bring out local people; just who you want.

But don’t dismiss the big guys. They might surprise you, especially if you are home-grown. People love to read about people in their communities who are doing things. To try and contact the feature-writers and editors of all local papers. If you are not sure how, go to your library and talk to the Liberians. Also, ask other artist for their contacts. They might be able to pass along some information about you and your show, which will mean more to the reporters. Do this enough in advance that they can do a story on you and your show.

And think of it this way, they have to write about something, it might as well be you!

Most of
Us are shy

Shy

Yes, most of us tend to be shy. But grit your teeth and do it. I was shocked when the first reporter I tentatively contacted responded. Not only responded, but met me for an interview, came over and photographed me working, and gave me advice on photographing my work! A nice feature article on the show and me really helped to make my first show a success!

It took me a while before I got up enough nerve to contact TV and radio, and I am sorry I waited so long! Most TV stations have news desks, and often need short feel-good stories for the weekend. A nice 2-minute spot on the local guy who makes art out of tin cans, etc is often just what they need. So supply that need!  These contacts can lead to more.

After a few years and meeting a number of reporters, when an art show came to town and a local feature writer was told to do a story on it, she contacted me to find out just who this guy was and why he was important. So I got a nice quote about that artist and mention for me and for my gallery. Let them begin to think of you as their go to guy for art.

Don’t underestimate yourself

You are interesting, or at least your art is. Supply the press with your bio, artist statement and good clear photos of your work. If you have a good camera, and can create a cd with digital files of selected work, this is a good thing. I will include a doc with the bio, statement and high-resolution photos of my work. This can work to your advantage because conditions might not be good to photography the work in the gallery or shop. They will most likely want a photo of you with your work, but clear photos they can use in print help.


 

Press Release

Press Release

You will need to write a press release. Scary? Yes, but you can do it. A simple letter stating that you will be opening an art show at…… on….. Cover the who, what, when and how. Include contact information, phone number, e-mail, etc. You can include examples of your work, but they should be very good photos! Not snapshot with your cell phone. The advantages of a gallery show is that the gallery generally knows how to do this. A shop, office or coffee house will not.

So Learn. This is not hard, it just takes time and determination. And Humility. For some help, you can see what other artists have done.

Marion, from about.com/painting writes

Press Kit

All those documents you have already worked on can now to put to good use!

Have a handy little Bio

Have the bio and artist statement ready for them. The easier you make their job the more they will like you and the better coverage you will get. You can also have a list of the artwork in this show. Name, theme, etc. Give them something to write about, and maybe help them get a handle on how to interview you. Give them all the help you can to give you good coverage. In the press kit you can include a Bio, Artist Statement, Inventory/catalog of show and even photos of  your artwork. I know several artists who print up small brochures of their shows. These are limited printings and not expensive, but go a long way to making your show look professional and helping the press to give the right slant on your show. They are not mind-readers, help them!

A few words about photos for Press Release and Press Kit

Just some notes that I think you will find helpful when including artwork or graphics with a press release. I have found that newspapers and TV stations are much more likely to pay attention to press releases that include art. This can mean photos of paintings or people doing things.

But they will not print this artwork unless it is identified. If it is a painting, clearly identify the artwork and artist. I usually name the file with the artist last name and a hyphen title.

In the press release, below the -30- I will name the file attached, identify it and anyone in it. Then include the credit, ea. Who took the picture. By including the photo you are giving permission for the media to use this in either print or broadcast. If there are people in the photo, these must be identified also. Standard is left to right back to front. First initial and last name is enough. After all this is done, I will include a line, such as Photo by name of photographer.

Press will by default use their own photos from their morgue if possible. But they are much more likely to even think of it if we include something.

Photos should be a good quality, in focus. It is better to not include a photo than to include a poor one. Always take the photo at the highest resolution settings of your camera. You can always downsize for the Internet, but print does require a larger file than the Internet or a website.


Next: Opening Reception, the meet and greet, a necessary Evil!

Putting On Your First Show Part 2 Doing The Paperwork


 Doing The Paperwork

 Now that you have selected the work that you will be showing comes the real tedious part. Yes, I know you hate paper work, but for the show to be successful, you really must do it.



Another piec to the puzzle



 

 
 *The Written Part

  

Your show is going to require certain documents. Believe me, they will prove very, very helpful! And yes, they are necessary.

  

*Make a List, Check it Twice



You need to do the paperwork



The first piece you need is a list of the works you are going to show, an inventory. This is more than a simple list of names. It should list, in display order, the works you are showing. This can be done by hand or by spreadsheet, whatever makes you more comfortable. And yes, double check it!

But is should contain more than just that list. By numbering the work, you let others know the order in which they should be displayed, helpful if you are not hanging your own show, or you have help. These numbers should match the tags (more on that later)

In addition to the numbers and names of works, you should also list size, medium, price, date sold and who to and any other relevant information that would be of help to people behind the scenes. Date this for the start of the show. Also, you might record the ending date and pick up date. You keep a copy and leave one copy with the host company for this show. This can be kept as a back up if any tags are lost or if there is come discussion as to price, etc. You should go over this inventory with the place you have having this show. This inventory should accompany the contract for the show.

This inventory list might be related to your general inventory of what art you have of artwork you have done. Keeping a list of works, as well as information on them is helpful in the long wrong. When you first start you think you will keep track, and how many paintings will you do, after all. But inventory of any working artist quickly gets out of hand. On your master inventory, list name, date, medium, size, description, maybe shows you have entered it in, date first displayed, date sold and who it was sold to.

From this list will descend the catalog for the show. While you do want to list number, name, medium and price, there might be other information on the general inventory you don’t wish to share with the public, things like commission, etc.

*What in a Name?

 This brings us naturally to naming the works. Each work should have a name. I know artists who constantly rename pieces depending on which show they have entered them in. I don’t. I like to keep this consistent, then I know, not only what is being displayed, but where it is displayed at and when. It is fine to simply number your works. Many artists do. Like “Still Life 47” or “Landscape on the Hudson 23”. I do recommend you keep it rather short. Long descriptive names are easily forgotten and the last thing you as an artist wants is to be forgotten! If you wish to annotate the piece, giving more information such as location, etc, this is fine. You can have a place for this on the master inventory, and this can be added to the tag, but the name itself should be under 35 characters. Many shows now restrict the length of names, you getting into that habit is good.

*Price-A Weighty Subject

I won’t go into pricing. There are scores of formulas and such for this, but you need to price them realistically for your area. Other local artists and galleries are the best source for this information. Before you settle on a price, you need to know just what is coming out of it. Yes, your basic expenses, plus time but also any commission the venue will be taking. Usually the place the show is held will handle any sales, and they earn their commission! Also they are responsible for collecting any sales taxes, etc. But your pricing must be clear. If you and your venue agree that the price includes sales tax the tag should clearly state this. If not, both of you need to be aware of this. Today the majority of art sales is by credit/debit card. These services are not free. Understand if the venue is to absorb this charge or if it will come out of your portion. The larger the commission rate, the more the venue will pay. By the same token, if the venue is a friend who is allowing you to display your work in their place of business, you cannot expect them to collect sales tax and pay the credit companies fees. So be prepared for this.

Also, most galleries take some kind of commission. They earn this. This fee covers their expenses, which can be considerable. Never fool with your gallery! Sometimes people will take the artist aside, especially when it is someone they know, and offer to buy the piece after the show, less the commission. They wrongly feel they can save themselves money and Help you. Not so! This is unethical. And wrong. Many galleries, The Renaissance Art Gallery included have in their contracts and by-laws that any sales of any work displayed in their galleries sold within (and they varies by gallery) 90 days is still considered as a result of that galleries contacts and the artist still owes the gallery its commission.

Also, do not ever discuss commission rate with a patron. This is business and is none of theirs.



Brochures and Tags are simply
part of the package



*Tag it

All works should have tags, little pieces of paper or card that identifies each piece. Most galleries will have a standard tag that they use, but businesses will not, and you will be responsible for making them. They should be neat and legible. If you are doing them yourself, you can use templates for business cards and print them on those perforated card stock sheets. These are the easiest to use. Check with the place and find out how to mount them. Some don’t like scotch tape because it will pull of some of the wall paint. You can use masking take, etc. But they should be consistent. Meaning first should be the number of the work, which will go along with the inventory, name, your name as artist, medium and price.

Now for the really fun part, --the dreaded

**Artist Statement!

Do I really need this, you ask. Sadly, yes. This tells people about your views as an artist. People really read these things, especially if they are short and straightforward. So keep it simple, keep it true. And don’t sweat it. It can be written in the third person, awkward I know, but there is nothing wrong with simply doing it in a letter format, you writing to the people viewing this show. Dump the high-fluting big mega high-brow words. You are talking to real people here. Do you talk like that in real life? Why do so here? It can and should be a simple statement. You views on art and creating it. You can briefly go into how you work, how you feel, etc. but it is not necessary to go into details that reveal all of your secrets. Keep the mystery in your art. Non-artist think its magic anyway, so why spoil it for them. The artist statement should help them relate to your work. Helps make it personal. People want to know you!

Along with the artist statement should be a biography of you

Bio should be neat and short

*Yes, a Bio

It is really hard to think of needing a biography of ourselves. These things are for people in history. Czars and other public persons, not us. But yes, when we put our art out there for the public to see, they want to know us. So tell them.

This need not be a long document going back to distant ancestors, unless of course these said ancestors are relevant to you art. Keep it simple and keep it on art. Sure, go ahead and say you are married with 9 kids, but don’t dwell on it, unless you are doing children’s illustrations. Have someone else (non-relative preferably) read it. Relatives seem to think you need to mention all of them. Believe me, few in the art viewing public really want to know your great-aunts name. People like to know how you got started. Where you studied, what medium(s) you use. How long you have been doing this. This is where you mention any art associations, major awards, etc. Here a little editing might be in order. While an artist association will want a complete list of shows and awards, the general public does not. 3 pages listing shows and awards back 25 years, will simply seem overwhelming and off-putting. Highlight the major or local awards, summarize if you have been about it for a long time.

  

All you really need is a paragraph or two. Artist bios are generally written in the third person. Susan studied with Lynn McNeal at the ……..Hard and awkward, but that is how it is generally done.

But the earth will not come to an end if you write it in the first person. I studied commercial art with Lynn McNeal at the……

Put this in a nice document frame so it can hang nicely but not compete with the artwork.

*Ask For Help



Don’t be afraid of asking for help from people who have done this before. Most experienced artists are happy to help. If you belong to any artist group or association ask them for help in what goes on in your area. In may areas, the Bios must be in the third person. It is expected. And some galleries are more formal than others.

 *Focus On The Focal Point

When you were sorting your artwork, did one piece stand out? Do you have a signature piece? Maybe the largest, the newest for the best example of your new style? Pick a piece. This should be a piece that represents you as an artist.

A photo of this piece along with the basic inventory list and your brief bio and artist statement should be combined into a show brochure. This can also contain contact information or website address. This need not be large or expensive. This is a handout along with your business card (more about that in a bit) these handouts are printed on standard 8 1/2 x11 inch paper. They can be like a flyer or a tri-fold brochure or even a half-fold. These are for people to pick up and read while they are looking at the show, so you will need a bunch of them. And if your work is in color, it helps if the show brochure is also in color, but not absolutely necessary. If you are having the show in a mainstream gallery, they usually handle this, one of the many ways they earn their commissions. For a co-op or other venue you will need to supply these yourself. Ask for help. You will be surprised how many people do know how to do this! Even many print shops can put together a simple brochure. But you will be reasonable for proofreading and any actual writing that has to be done. They will generally have simple template available and usually these can be fine. But remember, these come at a price!

* Be Inviting

You will also need to have a contact list. This is a list of people to invite to the opening of the show. Invite everyone. Do decide for them if they are interested. People will surprise you. Invite relative, dentist, doctor, etc.

You can make up a simple, elegant invitations to either send by mail or e-mail to people you know. These should go out about 2 weeks before the show. The gallery might also have a standard contact list. But snail mail invites do generate more attendees.

  

Which brings me to another little piece of paper-

  

*The Business Card

  

It is helpful to have an artist business card and they are not that expensive any more. It does not have to be fancy, a simple white card with your name and contact information and maybe the type of art you specialize in is enough. I put one on the back of each piece. It can also be handed out at the show.



Putting on a Your First Show, Part 1: The Work

Putting The Puzzle Pieces Together: The Work

Putting on a successful show is like
working a puzzle

To put on a successful show, you have to present your work in a way that leads people through it. It needs to encourage people to move from piece to piece.





Rule number One: Only show your best work.

Rule number Two: Only your best work is good enough

Rule number Three: Separate your best work from the mediocre work.

Rule number Four: See Rule Number One.



As you can see, the only rule that really matters is 1. Only show your best work. Having less than stellar work included in the show to take up space at best really only does that-take up space. At worse, it detracts from the good, well-planned and well-executed pieces. It can also discourage buying. People want to buy from accomplished, and if possible established artists. Getting established is the point of your first exhibition, and being well received really depends on the view of yourself that only displaying your best work brings.



So step one is to gather all your work, and I mean all and do a first cut.



Separate the best from the floss.



Put in one pile work that is incomplete. These pieces can be worked on.

Put in one pile that has good parts, but seems to lack focus, these pieces might be able to be cropped.

Put in one pile work that does not work. These are learning pieces but not for show even if they are your favorites.

Put in one pile works that seem complete. These are the bases, the foundation pieces of the show. Better too few than too many of indifferent quality.



Take the last pile, the best of the best and lay them out.



Do they have anything in common? A common theme, subject, color or texture? What do they say about you and how you work?



Lay out pieces that seem to go together. See how many such groups you can arrange. How can you tie the work together? These should be hung together. It is fine to have several such grouping. Put all your tropical island paintings/drawings together, all your puppies and kittens, etc. But look closely. Is there something else that can tie them together in an unusual way? [friends]



To put on a successful show, you have to present your work in a way that leads people through it. It needs to encourage people to move from piece to piece. Hopefully, there will be a theme or subject or style that will hold the work together.

Entering Shows, Part 6 - Pricing and Sales

Sales

Most shows do offer the works on display for sale. For private shows where the object is fund raising, selling the art is a major part of fund raising. Contrary to popular belief, most shows do not make major money off entry fees. So the sponsoring organization maybe be depending on sales to push them over the top. Expect this. Most shows will allow you to enter if your work is not for sale, but some will not. This will be explained in the prospectus. Read this carefully.

Pricing
Most events will expect you to place a value on your work. If you are a first time entrant, you can ask for advice on this. But do be aware that you are responsible for pricing. Also, you will be expected to figure in their commission into your price. This is usually a percentage of the sale price, which varies from show to show. I have seen this as high as 65% to as low as 10%. How dependent the group is on sales for funding will be reflected in this percentage. But be aware of how this effects the overall pricing of the show. You have to judge for yourself if you can live with less per piece if the work sells.

Realistically, can you reasonably expect sales? Different areas vary on this. Some shows have a rather high rate of sales per entry, while others do not. Location is a major factor in this, but don’t count out any venue. You might be surprised who does and who does not buy art. Also, time of year can and does effect sales. While sales might be brisk in late fall and early winter, January through tax time can be very dead. Then there are the spring art shows, when the weather begins to break. This can have a positive effect on people’s willingness to buy art.  

Preparing your artwork

Most shows require that you present your work ready to hang. What does this mean? It means the artwork should be clean, finished (dry!) mounted and framed with wire on the back to be hung. Almost every show I have entered does not allow saw tooth hangers. They are difficult for the show to work with and do not hang the work securely. If the work is not ready, the group will not get it ready for you. It will not hang. It is that simple.

Most organizations will tell you exactly what is acceptable and what is not acceptable for that show. While most shows do accept gallery-wrapped canvas unframed, a few still will not. You need to be aware of this.

More and more galleries and shows are requesting that works on paper be under acrylic glazing rather than glass today. This is both a weight and safety issue. If you are shipping your work, acrylic glazing makes much more sense than glass.

Mark your work

Clearly mark your work in accordance with the directions in the prospectus. Each piece should be clearly labeled with your name, title, price, etc. Most groups will have a printed label/template for this. If not, ask. This is necessary for hanging and judging the show, but also to make sure any unsold work is returned to you.

People's Choice Awards

Last Wednsday was a busy day for me.

Fern Counting the Vote

In addition to my normal classes, Fern Christian (Renaissance Art Gallery Director) and I had to count the ballots for the People's choice awards. we do this at the conclusion of each year's Miniature Exhibition.

People attending the Miniature Exhibition are handed ballots when they came into the gallery so that they can select what they felt were the best entries in the Miniature Exhitition. There were to select works in two catagories: Most Elegant Entry and Most Creative Entry.


There arealways tons of worthy choices so it was hard to narrow it down to two.. But choices had to be made.


Counting the ballots was a much bigger job this year, due to the record number of people gracing our gallery with their visits.The stuffed to overflowing ballot box was empited a couple of times before counting, so I know there were lots of votes!


The voting was close, but choices were made.The final tally did reveal clear winners however.


Linda Rossin’s “Elegance in Motion”. The beauty of the rising flamingo captured the attention of the most guests for the Most Elegant Entry Award, while Sandi Worthington’s 1inch by 11 inch “Going To Water” won the Most Creative Entry Award.



I think congratulations  are in order for both artists, Sandi Worthington and Linda Rossin on their selection by the guest of The Renaissance Art Gallery for this year’s People’s Choice Awards.

Linda Rossin's "Elegance in Motion"



Sandi Worthington's "Go To Water"



Seeing What Good Is

Geraniums in Terra Cotta
Larry Bragg

Working in our isolation—as most artists do, it is easy for to look at your own work and think” Hey, that’s pretty good! And pat yourselves on the back. Self-satisfaction is possible. But is it justified? How do we know if it is any good?

I work on my paintings and drawings and really think how much I have improved! And those miniatures are not bad at all if I do say so myself! My friends are impressed. So what more do I want?

We tend to look at things myopically, only what is right in front of us. This show has knocked me down to earth. It is a real eye-opener. The artists who entered the 10th Annual National Miniature Exhibition shows you just what GOOD is!


Now this could have been crushing. Really. Seen next to the rest of the artwork, my work is well….midland. Not really terrible, but not so great that it warrants a second look. It would be easy to say, “Oh, I can’t do this!” and give up. The stuff in this show is really, really good! But this does not have to be your reaction when you are confronted with genius.


Let me tell you what one artist said to me at the reception for the 10th Annual National Miniature Exhibition. Larry Bragg—a first time exhibitor in miniature said the scope of work was inspiring and showed him just what was possible. Already he is anxious to start on next year’s work. Looking at the excellent work hanging in the gallery, all he could say was: "Wow! This shows me what can be done!". Far from being discourage, he is inspired! His excitement when he saw the wealth of fine art was amazing. He can't wait to try his hand at something new. To explore his new found knowledge of what is possible.



French Table
Larry Bragg



And this is a good thing. To be inspired by others, have your mental horizons expanded. Art happens in the head first, only then with the hands.

In all things, we need to have high standards to do our best,



Note: Normally I decorate my blog with my own “artwork”. Not sure right now I can even call it artwork. But this week, I would like you to see the work of another artist, the brave Larry Bragg.

PS. I promised last week to post the link to the Renaissance Gallery's 10th Annual National Miniature Exhibition so you can all see the photos of the reception.The Renaissance Art Gallery



No Derivative Works Please

More and more you read these words in prospectus and show outlines. That along with the wording “nothing based on published photographs or under the direction of class or workshop” All works must be original. Still. Many show personal complain that they still get work based on photos published in books and on the web. So obviously, many people do not know just what is meant by derivative work.

A derivative work is defined as one that is substantially derived from another underlying work. The dictionary also notes that such a work, when based on a copyrighted work is an infringement if permission is not obtained prior to execution. Understand? No. Well if you can tell where it came from, it is a derivative work.

This used to be quite common in artwork. All over the world you could find these works and art historians could trace their origins. With the establishment of copyright, and intellectual property, it is now a definite no-no.

Fair Use

Well, what about fair use, you ask. It truth, fair use has nothing to do with creating new works of art, which collage artists around the world repeatedly fine out. This clause in the copyright laws is actually meant for critique and publicity. Reporters and critics covering art shows and doing book reviews, etc, can show snapshots of or include excerpts from works and shows they are reviewing. It was never meant to say you could take parts of other works and incorporated them into your own work. Most shows do include a clause in their prospectus explaining that images can be used to publicize that show or gallery. This is also fair, and does not effect the actual copyright holder’s integrity.

When is reference not reference?

But I only used that photo for reference in my painting, isn’t that fair? Well is it? Why did you use that photo? Did you copy the layout of it? Mimic the colors and lighting? Use the same stances of the people?

Dictionary.com defines reference, number 8 as: “use or recourse for information”. This is the meaning that our reference photos should have.

I am doing a painting with a horse, oh; I need a picture of a horse so I know how many legs a horse has. You should use those photos for information only, the actually composition of your painting must be your own if the painting is to be submitted to any show or competition.

If you copy the composition of a photo, you are copying the photographer/artists work, their artistic vision. There is a huge temptation to do this. We all have calendars, books etc, that contain photos we would love to copy. But remember, this makes it a derivative work.


When is a derivative work not a derivative work?


Well, all I have to do is change 10% of it and it is my own. Or simply reverse it. Where this myth came from I don’t know. But it persists. Not true, people. Simply change a few things around, reversing the photo, etc. does not mean it is ok to copy. How do you know the photographer did not reverse the print before it was published? And there is no truth to the 10% rule at all. If you can recognize where it came from, it is copying. And don’t think simply doing it in another medium makes it ok. It does not.

Now there is definitely a difference between derive from and inspired from. One is totally based on the previous work, the other has it own composition, style, texture, etc.

Royalty Free photos on the web

There are tons of sites on the web to view and download photos. Read the fine print. Even on the stock photo sites, these works cannot be copied for artwork. The fine print even states that you cannot use these for derivative works. If you find a photo you like, you must get permission in writing from the photographer to use it. The site you find it on may or may not be the site of the photographer, and I would be cautious of any site that does not protect or mark the photos. Many websites unfortunately, make free with photos, drawing and paintings found on the Internet. Yes, Virginia, things on the internet are covered by copyright laws.

As artists we want to showcase our own creativity.

Entering Shows, Part 2 - Getting the Facts

How to Get the facts

or

Read the prospectus!

Whether it is an art group or some other organization holding the show, you need to be aware of just what is going on. To do this you need to read the prospectus.

Carefully. Fully. Again.

When you understand what is being done for this show, then you can decide if it is for you. Don’t dismiss the show it if has a special venue or theme. Many local shows will, especially if the sponsoring group is not an art group.

Many artists do not want to create work for a specific show, but I wonder “why not”? Why not meet this challenge? Just my thought on it.

The prospectus, or outline of the show, should tell you what you need to know to enter this event.

The Prospectus

Art shows generally will have some kind of prospectus, a document that tells you how to enter and what to expect. This can be anything some a simple one page letter, to a small book. And for many these are inherently confusing. Don’t let them scare you.

Most are fairly small and straightforward. After all, a really complicated prospectus will discourage artists from entering that show. The bigger the show, the bigger the prospectus! And I have seen some that were really complicated! And long!

Understanding them is very important to successfully entering any show. Once you have the prospectus in hand, read it carefully. Take your time. Note when the show is and when you have to have your submissions ready. These dates are seldom the same! It takes time to get a show together. Trust me on this!

If the show is a juried entry, meaning, you must submit work to be juried to even enter, the show will clearly state this. Some shows require an entry fee even if the jury later rejects your work. So be prepared for this. Most entry fees are non-refundable. And some arts organizations are very hard-nosed about this.

If you must jury in, seldom is the actual artwork required. Usually slides are required. Or rather, this was the way it was done in the past. And many shows still accept them, but more and more shows are accepting a digital file in replacement of film slides. Read the information carefully and stick to it exactly. This is especially true on format. If you submit files in a format not suitable for the selection committee, they will not ask you to resubmit, they will simply put you in the reject pile. Make sure the file is the right size. Not too big and not too small. A small file will not allow enough detail to truly evaluate your work. A too large file might freeze up their computers, not a good impression to make! This mean conforming to the dimensions stated in the prospectus also.

In either case, the quality of these photos makes a big difference, and the care in which they are made does matter. Do not simply snap off a few shots with a point and shot and e-mail them in.

Photos that are off center, on an angle, poorly light will cause your work, however good, to be rejected out of hand. You might think that your painting is so good that it will overcome any deficiency in photography, but it will not. If you don’t know how to take good photos, ask a pro. Do not include the frame in the photo if at all possible. Many will allow or even require a black border. You do not need to photograph your artwork with this border, it can be added to the photo after cropping.

Make sure the painting is clean and dust free. Dirt and dust will show in the photo. A stained and ill-fitting mat will also detract from your artwork. If the work is on paper, photograph it before it is under glass! Reflections and glare will also disqualify your work. If they cannot see the work clearly, and see the colors truly, they will not be able to appreciate it. Do not give into temptations to “tweak” or enhance your work in the computer. Make sure the photos are as true to the work as possible.

Read all the requirements carefully. If you are unsure of anything, call or write the group. Contact information will be given.

Larger shows may have multiple shipping addresses, so read this carefully also. It is not uncommon for the shipping address to be different from the address the show will be displayed in. They may have detailed shipping instructions that must be followed. This is to insure that the artwork not only arrives, but also arrives in good condition.

Always insure your work

Enclose a self-address return mail label. Do not depend on the staff to fill this out. They are busy, and have lots of packages to pack and ship, and mistakes happen. If you include a return shipping label already filled out, your work will find it way back to you. Most shows require this along with return postage. Include this. Your shipping company can usually calculate this for you, and most will print you a special label for return shipping. Don’t skip this thinking to save money by making the showing organization fork over the shipping fee. More and more shows state that work without return shipping included will not be returned but considered a donation to that group.

Make sure you understand size and framing requirements. Oversized works will often be rejected, even if the work makes it through the jury process. Once the work arrives if it is oversized or not framed properly many shows will not hang it and all your work and expense will be for nothing.

Contrary to popular belief, putting on an art show is not the road to financial success for any arts organization. Most of us do it for the love of art, and hope to at least break even. These shows are expensive to put on. And they are detailed. To me anyway, very much worth the effort, but there is little money in it! I just hope to get seed money for the next event!

While some shows detail the prizes and awards given, many do not. Do not assume because it is not detailed in the prospectus that there are no awards. If you have questions ask.

I do not put the awards list in prospectus because for us this list can be fluid until shortly before the show. We work hard to not only make sure we have good cash or merchandise awards for the winning art; we also canvas the area for purchase awards and award sponsors. So our basic awards list can grow, almost doubling by show time!

But more and more shows do not give cash or merchandise awards. A growing trend is giving awards “for the honor” of art, and they simply give ribbons and/or certificates. Be clear on what to expect.

Also, it is wise to understand just who is judging this show. It is a committee made up of the organization giving the show, or has some effort gone into the selection of a judge or judges.

Even if this is not in the prospectus, it is ok to ask what kind of judging happens. For The Renaissance Art Gallery’s Major fall show, the Miniature Exhibition, we often have members of local university art departments. But we do from time to time draw on the greater art community and import a judge from an organization specializing in miniatures. The strength of the judge can reflect on the merits of the award. We also have a category of awards that we call “people’s choice” awards, where the public, passing through the gallery during the show will vote on their choices. There are three of these awards given each year in addition to the regular and purchase awards.

Purchase awards are just that. A person or group will commit to buying a piece of art in that show. They will donate a dollar amount to buy a work of their choice before the opening of the show. After the juror(s) make their selections, those with purchase awards will go through and select the works they are “awarding” and those are usually marked as sold prior to the opening of the show. It is possible to win a major award, like best in show, and a purchase awards. Kind of a double whammy! Of course, if your work is not for sale, it is not eligible for this kind of award.

A word about commissions

The vast majority of shows will take a commission of the purchase price of the artwork if sold. This is standard practice and can range from 10% to 50% of the purchase price. Be aware of this.

Larger shows with more opportunities for sales will often take have a greater percentage of the sale price. The increased likelihood of sales offsets this larger percentage. 20-30% is reasonable for expenses. This is still lower than most galleries must take. The gallery is also going to collect any state sales taxes required, but this should not affect you. But don’t count out smaller show in smaller venues. They can have surprising sales records!

Shows that depend on sales to break even may require that work be for sale. If not, they may require that you submit additional works that they can sell.

Most shows will state that images of artwork may be used for publicity. This is important to the show to get public interest. This is also standard practice and in no way affects your rights to your artwork. Also be aware that fair use allows reporters to photograph your work on display and use it in their stories. This is a good thing. They take care to identify the work and artist. Publicity will not hurt you!

Last year I send press releases to the papers in the hometowns of our Miniature winners, and that resulted in interviews and newspaper stories of several of our artist/entrants.

For an example of a prospectus, you can visit The Renaissance Art Gallery website at: http://www.orgsites.com/wv/renaissance/index.html and download the 2010 Miniature prospectus.

I think I pretty much covered this subject. Any Questions? Have you run into anything you did not understand or did not make sense? Any funny stories?