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.

Entering Shows Part 5- Dating the Show

Dating the show

Take careful note of when the show is, and also when you must submit work for consideration in this show. These are usually two different dates! Also note the format for submitting work. Traditionally, in juried shows the artist must submit photographic slides of their work, but more and more are accepting digital files. Still, you need to make sure you submit the right format and size to be considered. Do not assume that your work is so special that they will accept whatever you choose to submit. This is not only wrong, but also insulting to the sponsoring organization. Not the way to make a good first impression.

If the show has a theme, make sure any work you submit fits that theme. Do not try to shoehorn it in. If it does not work, it does not work, no matter how much you like that particular piece. If you want to enter that show, do something else. Also, make sure it fits other criteria for this show. Some shows emphasis a single medium, such as watercolors, while others exclude certain media, like photography or collage. Submitting work that are illegible for the show not only wastes your time, but frustrated the sponsoring organization.

Nothing upsets me more than having to turn away work from an artist who has driven 40 miles because the show they are trying to enter restricts work to only a certain medium or theme. This past spring, we had to turn away some really good photographs because the spring fine arts show did not accept photography; photography is reserved for the summer show. Sadly, the artist did not re-submit the work for the summer photography show. Reading the prospectus would have save them a trip at the wrong time, and allowed them to enter the correct show.

I hope this information is helpful to you. And if there is anything else I can help with, please let me know.

I know that people who orgainize these shows really hope for a good turn out, both with submissions and people viewing the show. When you enter, mark your calendar to attend the opening. A lot of people attend these to meet the artists, so attending is important to both the show and to you.

Delivering your work. Entering shows Part 4

Getting your work to the site of the show and on time is vitally important. Depending on the size and prestige of the show, it can make or break your entry. The larger the show, the more important timing can be.

Some shows and groups are rather strict on this, and being either too early or too late will disqualify your entry. Also, some larger shows can have several different delivery/ship addresses. These may or may not be the same as the location of the actual show. I know of one larger miniature shows (I know, a large miniature show sounds like a counter diction in terms!) that has a long list of delivery/shipping addresses depending on your last name! If you last name start with an A-E, you send to one address, etc. Others, will divide things up by category, portraits to one address, landscapes to another, etc. None of these addresses are where the show will hang. That is another address. You need to be clear on this, also on when to either bring in your work or ship it. Volunteers staff most of these shows run by art associations. And the addresses may be only temporary shipping addresses so timing can be important. Also, these groups may not have their own buildings but depend on other groups or locations for their shows. These can range from real estate offices to banks, local museums and even government buildings.

Read the prospectus closely for this information. This might sway your decision to enter this particular show. If at all possible, you should plan on attending the artist’s reception. This is your chance to mingle with other artists and patrons. The group putting on the show will work hard at getting press coverage, and this is also your chance to come to the attention of the public. Don’t be shy! It is your time to shine, whether you win a price or not.

Another thing I want to bring up. Pick up your work on time. There will be a location and time frame listed, usually in the prospectus, but certainly when you drop your work off. Be sure to mark this on your calendar. If the group does not have its own location, failing to pick up your work can put it in jeopardy. While every group will try to take good care of your work, if you fail to retrieve it, well, anything can happen. If they have no actual location, it will no doubt be left in someone’s storage room. More and more shows are stating the consequences of failing to retrieve your work. You would think this would not be a problem, but it is not uncommon for us that The Renaissance Art Gallery to have work for over a month after a show comes down. This is a burden on us, because we have a new show going up, and lack any substantial storage space.

Groups without a location may even dispose of unclaimed work. This is their right. It is your responsibility to collect your unsold work.

Of course, if your work was shipped, this is a mute point. You have provided a carton and label for return shipping and should have no problem getting your work back.

Entering Shows, Part 3 - Finding Shows

How To Find Shows To Enter

How do you find these shows to enter? Look around. Most areas have some kind of arts group and different organizations sponsor art shows and contests all the time. These are usually published in local newspapers and on community bulletin boards. Many papers now have on-line versions and ways for you to subscribe to news feeds. You can subscribe to those feature things you are interested in. You might want to become familiar with your local Life style/community editor for this.

The Renaissance Art Gallery advertises its open entry shows in The Artist Magazine, as well as other art-related magazines and on many on-line art lists. And list these on our website. Most art groups will do this, so even if you are not a member of a local art group, you might want to subscribe to their newsletter or bookmark their website. http://www.orgsites.com/wv/renaissance/index.html







Many art magazines have places to list art shows and workshops in the "white pages" at the end of their magazine. This is especially nice for people who specialize in a single medium. A magazine for that medium will often list many shows for that medium.



Most art societies also have magazines, such as "To the Point" the magazine for the CPSA [Colored Pencil Society of America] lists all their regional groups and these each have shows specializing in Colored Pencil art. http://www.cpsa.org/

We also have an active mailing list for artists, to whom we send new prospectus when they are ready. Many groups do.

Also keep in touch with groups who run fundraisers for causes you believe in. While most of these are designed to raise funds, some of them can be a good way for you to begin showing your artwork.


Don't forget your home territory. Most states have cultural departments, etc that have departments whose business it is to help develop artists. Do not assume you are not good enough. Work with them. It is their jobs to help you become good enough. And you do not need a fine art degree to get help from them etc. But check closer to home to, with your town/city and county. Check the local colleges and see what they have. Check your state website and see what arts groups are listed. Check the surrounding states. etc. That goes for other countries beside the US also. Both Canada and the UK have such agencies. And Europe is lousy with art promoters. But do your homework, so you understand just what is going on.


There are many on-line listings. Look for knowledge bases and such that list art shows and opportunities


http://www.miniatureartshows.com/page/Miniature+Art+Knowledge+Base



http://orders.artcalendar.com/home.asp

http://www.theartlist.com/index.php


A word of warning, not all of these sites are free, many require a subscription for both those submitting events and those looking for events to enter.



Also, be weary of these events. Not all are legitimate. Remember that all shows have agendas. Mine do. I do not apology for this. We, as a gallery expect to get something from all the hard work. This is OK. So do the artists who enter. They expect to get something from the experience. When we all get something but no one takes advantage of the other, it is a win-win situtation. But if the artist or the sponsoring group feel taken advantage of, well. It is not a happy scene.



There are a number of shows that seek to take avantage of artists, so read the fine print before you even send for the prospectus. Many groups see having and "art contest" is a way of getting free artwork. This is especially true for "design" contests and many, many photography shows. When you enter these shows you all up give up all rights to your work. This is not ok. While all shows will need to use your submissions to a certain extent, I would be cautious about entering any show that says that all submissions grant copyright, extented royalty free rights or simply have a lot of jargon you do not understand.

Fair use is pretty straight forward and there is no reason for a lot of complicated legalise in either the entry forms or prospectus. I steer clear of any group or organization that have a lot of fine print! At my age I can't read it anyway and no way am I signing anything I don't understand!



So start small, with groups you understand and can trust, then branch out into larger groups.

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?

Entering Art Shows, Part 1 - Will I do this?

Everyone loves positive feedback. And we all want acknowledgement for our work. The desire to join other artists in displaying our work is strong. Almost overwhelming, in fact.

How Will You Do This?

Last week I talked about some on-line sites I have enjoyed displaying my art and viewing other peoples work. I do this often, and love it. But there are other options and venues in the real world.

Art shows are a good way to get started and try and put forth our art in a small way. Usually participation is limited to a few works or just one. You do not need a large body of work, as you would for an individual show. But you also need to conform to the organizing person or organization’s thoughts on that show.

Some shows are just general art shows. Many organizations hold a spring or summer art show, where there are a variety of styles and subject matters displayed. Others have a special theme or reason for the display, such as breast cancer awareness or help for victims of domestic violence. Whether or not you wish to join in these events depends on what you expect to get out of it and how strongly you feel about the organization or cause behind the show.



But each show represents a lot of work on the part of the organizers and a lot of commitment. (Some say we should be committed!) People who run these shows care about them. And you should too. Look into sharing your artwork with groups and people who share your commitment to fine art and to the causes you believe in.

Photography as Fine Art

It is gratifying to see the reactions to real fine art photography, to know that we really showed them the art in it. All of the submitted photos show great creativity. I think the caliber of the work enter this year far surpasses last years entries, even if the number was down.

Each and every piece showed that the artist really thought about it. These are not simply what they had on hand, but executed and mounted with this challenge in mind. And it was a difficult challenge for photographers, to feature and work with color complements.
But that is what art is all about, problem solving. We take the problem of how to express what we want, consider our medium and then work out our own particular solution.

This past Sunday we had our opening reception for the annual Fine Art Photography show. It is a great show. The artists who took up the challenge to work with color complements through photograhy showed great courage and creativity. The many solutions they came up with shows that it was not an impossible task.

Still, many photographers stuggle to be taken seriously as artists.

It can be disheartening when other artists denigrate photography as a medium. I know a few painters who feel that photographers should not be accorded the same respect as any other artist. That somehow, the very “ease” with which they create art somehow lowers it value as art. Even collage artists are accorded more respect.

Many art show do not accept photography in their show, or put it in another area and category. Yes, photography is the red-headed step child of the art world.

But it takes more than simply snapping the shutter to create a true work of art in photography. It takes vision, patience and hard work.

When I set up a still life for drawing or painting, I can play with the arrangement, colors and lighting on my canvas. I can fiddle with the background or eliminate it completely. But when I set up a still life in photography, I have to look it over very, very carefully. I have to look at it from all angles, see not just the objects, but how they fit together, and if anything else is in the picture that I might need to eliminate.

Then when the picture is take, the real work begins.

As has always been true, much of the artistry happens in the darkroom. Today, more and more photographers work in the virtual dark room, but the work still has to happen. Now, instead of chemical baths, we have software and filters and effects, but the artist still has to know which filter to apply, in what order and how much.

Then there is the output, the physical photograph. Today there are more choices here, and each effects the perception of the work. What are you going to print it on? Photographic paper? One of the newer art papers? Textured papers or even fabric? And then presentation. Matted and framed? Size of the mat, color, frame. Each choice effects how the work is viewed.

And these are not simply technical decisions, but the kind of choices all artist must make to make sure the work conveys the meaning the artist is trying to get across.

So for the most part, this show for me is a labor of love. Love of art and my fellow art photographers.

Art Show

Color show now on display

The Renaissance Art Gallery will host a reception for both artists and the art loving public May 2, 2010, in the Kumkum Majumdar Exhibition Hall. The reception is for the 3rd Annual Spring Fine Arts Exhibition. Every one is invited. Admission is free. Refreshments will be served. Reception is from 2-4 pm.

The theme for this show is Color complements, and it is a colorful show! Vivid and subdued, the range of work is outstanding. Included are abstracts, realistic paintings, impressionistic paintings as well as woodcarvings and glass sculpture. We have fabric artists and expressionist as well as several experimental pieces along with a Color Wheel Installation by the Junior Fine Arts Class.

Reception is from 2-4 pm at:

The Renaissance Art Gallery
900 8th Street, Suite #20
Huntington, WV 25701

Gallery (304) 525-3235
Appointments: (304) 453-3187
gallerywv@yahoo.com
www.orgsites.com/wv/renaissance

http://twitter.com/wvgallery
http://renaissancegalleryart.blogspot.com/

Gallery hours are:

Friday & Saturday 12-4 pm, Sunday 1-4 pm
Studio hours Monday 10-Noon, Wednesday 1:00-7:30 pm and Saturday 10-Noon

Color Complements will run for the month of May.

Complementary colors Exhibition
-30-

This is the press release I am preparing for the opening reception of the Spring show.

I know all you artists enter these shows, and remark on all the work you do to get ready for them. I also read how disappointed you are sometimes when how you and your work fair and are treated.

But I have to wonder if you have any idea how difficult it is to pull off one of these shows?

I have been working since last December on this, and frankly, I should have started sooner, and done more! The photo shows just two walls, and we have six for this show. I did not hang this show myself, two other members of the gallery did so, but all of us worked flat out to bring this show together.

From the early planning through this weekends event, putting on an quality art show is difficult, but so rewarding.

Staging the Color Wheel

Working With The Color Wheel.

We hear about color wheels and color complements and triads, but how you to apply this to real life? The colors you see printed on the wheel don’t always match what you run into in life or in paint.

My junior drawing class took a stab at relating to the color wheel this week in preparation for the Spring Fine Arts Exhibition, “Color Complements”, being staged at The Renaissance Art Gallery next month.

Today, rather than doing all the preparations myself, I engaged these art students to help work on an installation piece, “Working With The Color Wheel”.

First we needed a color wheel to display in the welcome to the exhibition. Also we needed to highlight primary colors and their complements and show what happens when you mix them.

First came the color wheel. I am sure you remember how boring doing this can be. But this had to be more than a simple wheel, it also had to be art and decorative.

I collected a basket of silk flowers, a grapevine wreath and a pair of wire cutters, put them on the table and away we went.

After an 15 minute explanation of the color wheel, and a simple demonstration via watercolors, the students had to sort through the silk flowers and find the best examples of the colors needed. This is where they found their understanding of the wheel was not as good as they thought! You remember how your eyes crossed in class when color theory was presented, but listening to teacher and working it are two different things. And with the various shades and highlights presented in the flowers they had to think about it!

After the sort, the flowers were cut, inserted and the wheel hung.

Next we needed the color complement display. Glass marbles served as the color constant, placed in clear votives, they shine through. Next, the best complement was selected from the remaining flowers and stood up in the votive, the votives were arranged in the window, where light can shine through them.

Food Coloring and clear glass bottles make up the last presentation, working with color. Batches of water were mixed up with the 3 primary colors, and 3 bottles were filled with these. Then the remaining colors were used to mix the complements, and the last 3 bottles were filled with these. Then the bottles were arranged on the windowsill where the light will shine through them. A little fiddling and re-arranging for the most pleasing presentation was made.

This installation piece both brightens the gallery and is already proving to be a handy learning tool. The adult photography class, which follows the junior class got a first hand look at color and how light effects it.

Expressionist Art

Twentieth Century art baffles a lot of people.

They know it is supposed to be good, but they just don’t get it.

An exhibition of Robert Motherwell’s work is coming to town. The publicity about this exhibit extol its virtues to the public, trying to entice a largely resistant public into viewing his work.

In preparing her piece on this exhibition, the reporter was looking for a quote, something to make a largely confusing and un-untellable show explainable. Why should be see this show. Why should ordinary people in this economy care about the works of Robert Motherwell?

So, she asked me.

At first I panicked. Why ask me? Do I look like I know? This is a serious question. How would I know? Am I going to be exposed as a fake? I am simply a working artist, a blue-collar artist. Not some high-flaluten super educated art historian. Then I looked at her note, and noted the name. Motherwell, Motherwell, sounds familiar, Oh yes, I know this guy! I checked a couple of books to make sure I had the right person, the old brain-box is not what it used to be. But yes, I know this guy. So, happily I gave her what information I had, and my honest opinion on this man’s work, and impact on the art world of his time. Everyone is happy, and article came out, and she did a really good job of it. Being a struggling artist, I am happy for any recognition and getting my name in the paper without getting arrested is something to be proud of.

I sent a link to the article off to several friends and family members. Well, my sister wrote back to me that she enjoyed reading the article, but hoped this person’s art was better than the one image printed in the paper. I had to blink. I got out my paper, and looked at the image they included. Yes, that is one of his pieces, and while not my favorite I rather like it. It is very simple.



To my sister, it bears a striking resemblance to an ink blot test. As for it being good art, she just doesn't know why that is considered as good as say a Rembrant.



http://www.putnamstandard.com/main.asp?SectionID=39&SubSectionID=42&ArticleID=2369

Now, I like Robert Motherwell’s work but I do understand what my sister is getting at. His work is condensed, and mature, but also not something the average run of the mill person gets. When I think of all the work and effort that the curators of both galleries, both the receiving gallery, The Clay Center for the arts and sciences in Charleston, WV, and the Jerald Melberg Gallery in Charlotte, NC I have to be concerned on how successful they will be on introducing modern, contemporary art to the general public. Oh, us art lovers will enjoy it, but how many of the other people visiting the Clay center will really get into it?

I know they want the general public to connect with this stuff. They struggle to bring the best to their museums and galleries. But I wonder if showing the best is really the way to go about it. I wonder if they showed the more ordinary pieces, what they dismiss, as not up to par or beginning pieces people might get a chance to understand what the "major" pieces are all about. Often people look at the end results of a lifetime of artwork and just scratch their heads. It is like reading people the ending of a great novel, when they have never read the book, and expecting them to get excited about it. There is no context, and frankly, modern art needs its context!

When showing contemporary art or expressionist art, you really do need to fill in the context. The why of the work is as important as the work itself. If you only show the work but not the story behind it, you leave so much of the work unexposed.



So showing the whole story, the art in context to its time, and to the art that preceded it, lead up to it, helps it make more sense.



We who live art have already made this journey, and sometimes we forget that others have not.

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The accompanying photo is of a small painting by me, "Alien Sky" and not Motherwell.

Sketchbook Cover

The sketchbook for the Art House Coop is done, and I need to do the cover. I know the cover can be important, but I decided to keep it very simple. Simply tell what it is, a sketchbook whoms theme was postcards and since I live in West Virginia, the cards are from West Virginia.

I need to send this off Monday so it is there by the 4 of January for the opening show of all the sketchbooks done from all over the world. It should be interesting.

I have looked at many of the posted pages, and they really vary!

Spring Art Exhibition

Spring may be when a young man’s fancy turns to, well, you know, but the artists of the Renaissance Gallery turns to thoughts of spring painting challenge. This year’s Spring Fine Arts Exhibition will be all about color, and how well you can use it in the composition and presentation of your art. "Color and its Complement", is the theme, challenge and title of this May’s show. The artist will take one color as the primary element of composition and work with its complement to bring forth his/her ideas.

December 20, 2009.