12 12 Gallery

Curiouser And Curiouser

By Robert Genn, The Painter's Keys

River Scene by Sir Winston Churchill

This morning I was on the phone with a painter I'd Googled. He Googled me as we spoke. We looked at each other's stuff. Then we mutually Googled the same works of the Spanish painter Joaquin Sorolla. We moved on to Francisco Domingo Marques, a teacher to whom Sorolla gave a lot of credit. This led to the less well-known Bernando Ferrandiz and Munoz Degrain, fellow Valencians who were also influences on Sorolla's early work. They were great painters we had not previously heard of.

We live in the fastest curve of democratic learning yet to occur. Search engines have the potential to revolutionize traditional systems of education. It is a wave of free thinking and awareness of alternates, a bonanza for the independently curious. Like the "Mind Mapping" concept developed by Tony Buzan, ideas and images flow naturally from one to another and form into an ever-expanding web.

In his remarkable little book, Painting as a Pastime, Winston Churchill  said, "I have always had a curious nature; I enjoy learning, but I dislike being taught." Winston understood one of the basics of learning--self-direction--the way of the autodidact. He would have been proud to announce the triumph of independent curiosity.

The giant online Wikipedia is currently about ten times larger than the tree-based Britannica. And it's not the largest. That honour goes to the Hudong, founded in 2005 by Dr. Pan Haidong, with over 4 million articles and 2 million registered contributors.

Since its inception in 1967, the American magazine Psychology Today makes a pile of magazines about 20 feet high. You can mouse every one of its mind-benders. If you happen to be thinking about creativity, for example, try Googling any of the following: "What do creative people look like?" "Stimulating imagination through constraints." "Painting and praying." "Being nice to yourself increases creativity." "Get creative, lose weight." "Hobbies--the personal path to creativity." "Are conservatives less creative than liberals?" "Can fundamentalists be creative?" And so it goes. On and on. This is the time of the curious. And it all comes through a tiny line or out of thin air to find us in our homes, offices and studios. "Curiouser and curiouser," cried Alice.

The SBAC Circa 1994

Home to my first studio and introduction to the wilds of the RVA Arts community, anyone else remember Shockoe Bottom Arts Center?

Here it is, as it was, before it sported a rooftop pool and upscale apartments; before it moved and morphed into the Petersburg Regional Art Center.

Hat Tip:River District News

Clip:WTVR: CBS 6

5 Surefire Ways to Annoy a Gallery

VIA The Art Advice Newsletter
Sylvia White Gallery



By Sylvia White

To many artists, being an artist isn't "real" unless you have a gallery to exhibit your work. Although there are several other options available to artists in terms of showing and selling their work, it seems, for some, there is just no substitute for getting gallery representation. To this end, many artists are willing to bend over backwards, do insane things, make ridiculous claims, and, in short, embarrass themselves. The truth of matter is, not all artists are ready for galleries, nor are galleries, necessarily, the best choice for many artists. Especially in these hard economic times, the last thing on most gallerists minds, is acquiring new artists. Much of my time is spent helping artists develop a realistic set a goals, and then a game plan to achieve those goals. Nevertheless, there is always that rogue artist, wanting to strike out on their own, thinking this time it will be different. They muster up the courage to start approaching galleries before they are ready, and without regard to common sense gallery protocol. If you recognize yourself as that rogue, or you know another artist that is, please forward this article to them.

1. Being confident about the quality of your work is a good thing. It identifies the fact that you have reached a certain stylistic maturity and understand the complexity of where your work fits into the contemporary art world. However, telling the gallery director (or anyone for that matter) how great your work is, is not a good thing. Confidence is something that grows with experience and doesn't need the constant reassurances from the outside world. Quality is not something that is "told" but rather discovered, and changes with each individual and their primary experience with the work. Let your viewers have their own experience with your work. Be confident enough about the quality of your work to allow people NOT to like it. And, never, never, never dictate what that response should be. There is no "right" way to look at or interpret  art.                                                                                                                     
2. Don't show the gallery director every piece of art you've made since your high school graduation. Galleries are most interested in looking at your most current body of work and seeing if it holds together as a series. Showing fewer pieces that represent a cohesive body of recent work, is much better than showing a ton of older work. If a gallery ASKS to see the development of your work, or is interested specifically in older work, you can have that available on your website. (Yes, you must have a website!) Remember, most people can only absorb so much visual information at a time without getting hydroscopic (can't absorb anymore). You need to be sensitive to the fact that you look at your work every day, and although it might not be tiring or stressful for you to look at 40 pieces of art, a normal person can't absorb that much visual information. Limit presentations of your work, either by snail mail, email or in person, to 10 pieces at the most.
3. Learn the most efficient way to send your materials. If you are mailing, don't send it insured or registered mail, this requires a signature and/or a trip to the post office. Don't send a ton of materials, or exhibition announcements in which you are one of many artists, reviews with your name mentioned once (and probably underlined in red), or miscellaneous stuff that you think is impressive. It's not, less is more. Don't expect your materials will be returned, unless you include a stamped, self addressed envelope (and, maybe, not even then...) Never, never, never, send originals or nag the gallery for the return of your materials. Remember, it's actually a GOOD thing if they want to keep you on file. If you are emailing, write a coherent cover note and send a link to your website. If you must send images attached be sure that they are appropriately sized digital files. Keep in mind that many email addresses do not accept more than 5MB of attachments to an email and that many people do not feel comfortable opening attachments to an email.
4. Respect the gallery director's time. Galleries are in business to sell artwork. Do not try to show them your work when they are at an art fair that has cost thousands of dollars to attend. Do not try to show them your work at the opening reception of another artist. Do not come into the gallery without an appointment, carrying your portfolio, and expect the gallery director to look at it. Do not pretend to be interested in another one of the gallery artists (or in buying something), then ask them to look at your work. Do not be insulted, if during your meeting, the gallery director leaves to greet a visitor in the gallery, or take an important phone call.
5. Fixate on your goal, not your fantasy. If you are lucky enough to get "face" time with a gallery, focus on what it is you can realistically accomplish. Most artists go into these meetings thinking they will come out with the offer of an exhibition, or a gallery that loves their work and wants to represent them, or maybe even a sale. False on all counts. I'm not saying it never happens, I'm just saying your odds are better if you buy a Lotto ticket. In reality, you have a two prong goal when showing your work to a gallery. One scenario could be, you could get them to recommend other galleries that may like your work and/or be more appropriate for you, than they are. Alternatively, and the most preferable outcome, would be the gallery would agree to take a few pieces on consignment, on trial. Keeping your eye on the ball is the only chance you have at hitting your target.

Just keeping these things in mind, remembering to be polite, respectful and professional, will get you closer to your goals. Good luck!

See With Bigger Eyes

Via Active Gray Matter Blog, by Krishanna Spencer

Half a Dozen Things Fine Artists & Crafters Can Do To Help Themselves Survive the Economic Slump

Because fine art and craft have long been considered a luxury for an audience with a disposable income, visual artists, like many self-employed creatives are susceptible to icky, economic downturns.  Right now everyone is hesitant to spend to drop cash on what seems to extravagance, even the very wealthy.  But collectors and dealers know this is the best time to buy and fine art and craft is one of the safest places to "park" their moola. But, they are looking to invest in  established artists with proven and verifiable sales and exhibition histories.

This is not good news for most emerging and mid-career artists. I've gotten e-mails from creative friends asking for ideas about how and where to sell work during a time when many galleries are struggling to make ends meet. Galleries are way more likely to exhibit the work of artists they feel confident they can sell right now. So, if you are thinking about approaching galleries any time soon here are five things to consider:

Know your stuff. Do your research and keep up the news- art, culture and business. Keep an eye on trends in your community. Watch which galleries are advertising and who they are showing. This will be a strong indication of which galleries will survive. Know which galleries accept outside proposals and when, keeping in mind most schedule exhibitions months or years in advance. Understand that, like the business world, the gallery world ebbs and flows and you need to move with it.

Become a little geeky. Aside from having an organized electronic (email) database of collectors, fans and people interested in your work, as well as an accurate inventory system, take a little time to research web sites (if you don't have one) and blogs. Determine whether you are better served with a blog that you can easily update or a static website that is updated quarterly or annually. Check out social media sites like Facebook or LinkedIn to find out how networking online with other artists and people of a like mind can benefit you. It's easy to let these things slide and find reasons for not having enough time, energy or resources...but, there is never a better time than now to get this stuff done.

Find creative weirdoes. Face it: being a visual artist can be a not only a weird but solitary profession, so in surrounding yourself with other creative weirdoes you can help one another remain positive and upbeat. So find other artists and creative people you can talk to and/or meet on a regular basis. It's always important to keep creativity flowing but especially during economic downturns. Nothing does that better than talking to other artists about their work and discussing yours.

Get out of the box. Be willing to think out of the box and explore non-traditional venues to exhibit work and be willing to lower prices and/or barter for goods and services if you can. Look into local outdoor and weekend farmer's markets and other similar venues. Look into renting space in an antique mall. Many people looking to decorate their homes with antiques also collect fine art and craft.

Curate yourself. Create your own exhibition of your existing work and approach local non profit exhibition spaces, small museums and college and university galleries with your ideas. Since many are coping with budget cuts, they are often more open to an exhibition that is already prepackaged and ready to hang. Use the distance you are willing to drive as your geographical radius and send proposals to everyone within that area. 

Do stuff for yourself. Everyone is under a tremendous amount of stress in this uncertain economic climate. The world seems chaotic right now. Money, career and family responsibilities can feel overwhelming. For many visual artists and fine crafters, it is our art that centers us and in an intrinsic part of who we are. We will all get through this, so continue to make the best possible art you can make and you will continue to thrive.

You Call That Art?!

 Appreciating unconventional works of art.  
VIA Psychology Today Magazine, Sep/Oct 2008

Article ID: 4662

By: Matthew  Hutson

       

If you've ever stared at a jar of bodily fluids at a gallery and exclaimed, "They call this art?" you're not alone. But neither are you set in your curmudgeonly ways. Research shows that simply thinking about the distant future puts those white canvases and Campbell's soup cans in a new, more artistic, light.

Subjects spent a few minutes writing about their lives tomorrow or a year from now, and then rated a series of works on how well they matched "a conventional concept of art." Those who prospected further ahead were more likely to place unorthodox pieces under the umbrella of "art."

German researcher Katrin Lo Baido explains that we tend to think more abstractly about the far future, priming us to widen our conceptual horizons. Near-future planning focuses us on the concrete here-and-now, inducing us to, say, measure that new exhibit against familiar prototypes, such as the Mona Lisa.

Other research suggests more tricks for seeing the forest for the trees at MoMA. Keep your mood positive, ponder the whys rather than the hows of the artworks, or simply stand farther from the pieces. Especially Piss Christ. —Matthew Hutson

From Questionable to Classic    

Three historic works that pushed the boundaries of art.

• Fountain, Marcel Duchamp. This urinal, Duchamp's most famous readymade, was originally denied entry to an open art competition.       
• Brillo Boxes, Andy Warhol. If a Brillo box can be seen as art, philosopher Arthur Danto said, "anything is possible."       
• Fat Corner, Joseph Beuys. His pile of fat left rotting in a gallery corner was accidentally destroyed by the cleaning crew.       

 

How Become A Starving Artist

by Krishanna Spencer**

It's important to note that the title of this article actually refers to facts related to not being successful in business, rather than being successful as an artist. Ask 50 artists what it means to be successful and you’ll get 50 very different answers.

Some artists couldn't care less about selling their work. They create because they breathe. Their basic definition of success is to be able to push the limits of their own creativity and leave their studio with a sense of accomplishment and the motivation to return for another day of work. Some artists consider success as gaining recognition from their peers and other artists; to eventually be recognized as having made a positive and indelible mark on the art world. Still others are less interested in recognition and historical vision, and define success as equal to the amount of income they can amass from the sale of their work.

The Thanks Giving Season

By Krishanna Spencer

"Silent gratitude isn't very much use to anyone." - Gertrude Stein

I don't know about you but during holiday season many of my thoughts turn toward appreciating the blessings I've been given in this life.  As winter's chill creeps into the autumn days many of us spend more time indoors in quiet reflection.  Often it seems appropriate to begin the holiday season with a celebration of all the blessings we've received during the growing season.
 

Have you ever noticed how easy it is to focus on what we don't have than to praise what we do have right in the here and now? Perhaps it sounds trite to say but no matter what the circumstances in life are, I seek to recognize the blessings that come my way. Far too often I am prone to seeing the glass half-empty and constantly remind myself to be thankful for the blessings that arrive in the form of friends, loved ones, ideas and opportunities.  I learned many years ago to acknowledge those things that enrich and embellish my life. I have found this perspective fuels creativity and a happier, easier life for me.

 

"Really great people make you feel that you, too, can become great." - Mark Twain

 

Speaking for myself, finding 12 12 Gallery and having the opportunity to become involved with the process of growing a new gallery in Richmond's blossoming art community as well as meeting and getting to know so many truly talented people has been an inspiring and often touching ride. Words often cannot express how profound this experience has been for me.

 

Each of us at 12 12 Gallery want to take this opportunity to thank you and wish you a joyous holiday season and an abundant new year, replete with many happy returns. Without your support, patience, encouragement, and suggestions we wouldn't be learning to live this abundantly creative life.

Copyright © 2007 Krishanna Spencer. All rights reserved.