Comments on: Deep Thought Thursday: Controlling how your art is viewed

By: Susie Monday

Susie Monday — Wed, 06 Feb 2008 14:12:41 +0000

I think that we artists need to think a bit more consciously about the “BUZZ” that we create with a show. I have been to so many art openings that, while fun as a way to catch up with friends, just seemed so much like so much of the same. How to do this without going over the top or being too outrageous I am not quite sure. My painter friend Franco Ruiz Mondini is a master at it — he breaks the mold,(pink martinis, walls of small affordable “multiples”, a limo parked outside as a private salon for the special guests) but I am not sure his over-the-top approach works for all personalities and styles. What would other approaches be? As I plan toward a solo show opening this summer in a small artsy, resort coastal town, I am pondering my options.

By: Allison J Smith

Allison J Smith — Wed, 06 Feb 2008 00:54:07 +0000

I had a solo art show at an oyster bar near my home. I noticed that everyone (and I mean every single person I spoke to) liked one or both of the same 2 pieces. I was stumped. Prior to this I had complements on other works hung at this show. Then I took a good look at the lighting in the bar. Most of the works were only adequately lit, but the 2 everyone liked were on a different wall and had much brighter lighting. I’d have to say the environment makes a huge difference! FYI The only 2 paintings that sold from that show were the ones in the brighter lighting!

By: Carol Lois Haywood

Carol Lois Haywood — Mon, 04 Feb 2008 19:40:39 +0000

I believe music may be the most basic element that provides context for human beings’ experience. [Smell may be more basic, (a la Proust?)--but maybe in a another post.] Since my main subject is coastal scenes and fishing boats, I have found some recorded music that uses a simple folk approach to sea chanteys and related melodies, which I use as the background music for my open studio events. There were actually a few tears shed in response (I think), and it definitely created the right ambience for the marine art crowd on hand. Since my studio is far from the coast, I want to help people get in the right mood to appreciate my paintings. If you think about it, the music of your youth always brings back some of the vitality and excitement of that time for you. If a particular music genre links up with your subject or style, don’t miss out on providing it for your studio visitors.

By: MATTHEW ROSE

MATTHEW ROSE — Mon, 04 Feb 2008 11:34:15 +0000

I hope some of you have tried the one-page-book idea.. please let me know… Matthew Rose / http://lalandedigitalpress.blogspot.com/

By: look

look — Mon, 04 Feb 2008 05:46:42 +0000

Environment and context are absolute to serious appreciation. It’s different from take a “look”. look from studio LDA

By: shea

shea — Mon, 04 Feb 2008 03:29:57 +0000

I never really thought about it. Probably not much, because I am usually in my own kind of world or conciousness.

By: Linda Armstrong

Linda Armstrong — Mon, 04 Feb 2008 02:19:38 +0000

Well, I think it depends on the kind of art and the price range. I think small, relatively inexpensive art with a warm abstract feel or food theme sells well in cafes. People have time to look at it as they eat and can picture it in their own dining spaces. Garden sculpture looks great in, well, a garden or courtyard. Art for a formal living room, foyer or corporate space is best in a gallery. Sure, galleries are busy at openings, but those occasions are for meeting people, really. Dealers have called the big buyers to have a look beforehand. My dealers always knew what their clients had at home and what they liked. Some art–local landscapes and popular imagery–even looks okay at street fairs. Contemporary abstracts and expressionist works–uh–well, not mine, anyway.

By: Alyson B. Stanfield

Alyson B. Stanfield — Fri, 01 Feb 2008 15:16:51 +0000

Fiona: That’s a terrific comparison. While we know art isn’t equated with retail stores, it helps to consider how they are promoting their line. I wonder if we show some art in TOO solemn of a space. ??? Judy: I love your questions! I so appreciate the desire to look at in the reverse: What effect does art have on its environment. We could probably find all kinds of marketing language that answers this–ads from frame shops, art consultants, commercial galleries. Tammy: Very interesting. Let us know how it turns out! Have you done PBM before?

By: Alyson B. Stanfield

Alyson B. Stanfield — Fri, 01 Feb 2008 15:04:37 +0000

Pam: Interesting point. Perhaps it depends on the kind of art. Gam: Love this: “but more importantly are the “viewers” approach. Busy, hectic, angry, defensive?” Isn’t that the truth! It reminds me of all the kids that were forced to come to the museum when I worked there. What kind of experience do you have when you didn’t want to go to the museum/gallery/art festival in the first place? Michael: I love that you envision a space for your art. And I love the whole Beethoven scene. I can just picture it! (I was going to leave this comment on your blog, but you only allow Google comments. Might want to change that.)

By: Tammy VItale

Tammy VItale — Fri, 01 Feb 2008 12:51:57 +0000

This is a graet post for me as I’m working on how to make a good experience in the midst of 1200 other vendors at the Phil. Buyers’ Market. I’ve decided on a vase of bright flowers, great snacks and an eclectic mix of music to play low enough to just hear in my booth – all upbeat, no minor key; that said, I can see my work in a quiet space with all celtic music too. But that would be at least a month long hanging, not somewhere I have to capture others’ interest in 3 seconds. So I guess I’d say that art probably lends itself to many different environments depending on its end purpose at that point in time.