Sunday, December 30, 2007
One of the key points he made was that people respond very differently to a painting under glass. It's certainly true that you lose your sense of the surface when a painting is under glass. I have seen some shows, for instance the Hopper show at the National Gallery of Art, where a few paintings on canvas were under glass-- and I always was distracted by the glass and wondering why it was there. The point my friend made was that, under glass, a painting often loses much of what distinguishes an original from a glicee print, undermining its value.
A second point he made is that mats may not be working well for me. I came from a printmaking background where the deckled edges of the paper were prized, and floating your work unmatted in the frame was the standard operating procedure. Recently I had resorted to matting to avoid tearing down my paintings to get a clean edge. He was strongly recommending floating over matting, because it is a more polished style. Or, better yet, switch to panels and get rid of the glass.
So much of selling art is creating the perception of value, and I can certainly see how not obscuring work behind glass and mat board might be a cleaner, preferred look. I'd been starting to move towards panels, and this conversation certainly encourages me to follow through.
Saturday, December 29, 2007
Sunday, December 16, 2007
Wednesday, December 12, 2007
- When I was a kid, I loved making art, the color lavender, Bobby Sherman, and dressing up in my father's hats to sing show tunes. And I'm straight. Really.
- I am a merciless lobster slayer, with hundreds of kills from decades of beach parties. Three inches of sea water in the tub, drop them in at first boil and loosely cover, seventeen minutes from the second boil, pull an antenna to test. Like a crustacean killing machine.
- My childhood dentist wore a pair of flip-down magnifying glasses as he closed in with the drill, like some bug-eyed reject from a David Lynch movie. And no Novocaine. It's amazing that I've ever been back to any dentist.
- The most famous artists to emerge from my tiny undergrad studio art program are comic strip cartoonists (Watterson and Borgman). I'm kind of proud, but I occasionally ponder whether the Kenyon art department admits that to new prospects.
- If you don't know already, I have a tribute blog for my dog, Pappy. He's like ten times more famous than I'll ever be. His Youtube movies have 200,000 views, and he's going to be on the National Geographic Channel's "Dog Genius" later this month.
Now there is the question of who to tag to pass along this great opportunity. Coming in on the tail end of this thing, I'm having a tough time finding people who haven't just done it among the art blogs I know well. So I am going to do the lazy thing and say-- if you feel inspired to do this tag, please leave me a comment and let me know to come look at your blog. I'd be thrilled to update the post to link to you.
Sunday, December 9, 2007
Saturday, December 8, 2007
Most artists know that Plexiglas has advantages over glass because it is lightweight and shatterproof, but is much more prone to scratching. What I hadn't realized was that the stuff from the hardware store would have so many imperfections-- little black flecks embedded in the plastic that make it look like there is dirt trapped inside the frame. I'm no perfectionist, in fact I'm barely an adequatist, and I could only use one of the six pieces I had purchased. I guess I'm going to have to investigate whether there are different grades of Plexiglas, because Lucite ES isn't going to cut the mustard.
Friday, December 7, 2007
Wednesday, December 5, 2007
Hopefully I'm not getting in way over my head with this. From a technical standpoint, I have a lot of career experience that would help me judge whether each is a well considered, well implemented piece of software. From an art professional standpoint, I unfortunately have limited experience with the business processes of marketing art-- I'm a fairly smart guy, so hopefully I can bridge this gap with some good sense. Another limitation of mine is, having spent a twenty year span working in Information Technology, I probably have a slightly higher than average tolerance for complexity and ugly interfaces. But I am also a "the glass is half empty" kind of guy, which should help compensate. Rest assured, if I see warts you'll know about them.
I'd like to get feedback from readers concerning the features they think are most important in a business application for artists. I find myself a bit torn about whether it is better to have advanced accounting, invoicing, and inventory management in the art management application, or if it is better to have a simpler application that focuses on cataloging art and managing client lists with a dedicated accounting application. A couple of these applications even incorporate calendars and goal setting tools, and I am curious to find out whether these really add value or are just gilding the lily. I hope to develop a features matrix and have some reviews by later this month.
Tuesday, December 4, 2007
Over the past weeks I've been reading several art marketing books, currently Caroll Michel's How to Survive and Prosper as an Artist. As I was reading last night, she takes a fairly dim view of the benefits of juried shows. The idea that they both collect entry fees from all applicants rather than just the selected entrants, and additionally may take a commission of any sales could rub an artist the wrong way. It's a fairly expensive way to get a bullet on your resume, and there will be minimal publicity for the individual artists.
In the case of the show I am applying to, I am a little (just a little) sympathetic with this gallery since they are an artist's coop gallery in downtown DC, and I am sure they have big rent bills and tight margins. Plus I'm at a point where I'm happy enough to apply just to give me some goals for my work.