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18 entries categorized "Making Art"

Thursday, 09 July 2009

Deep Thought Thursday: By the master’s hand?

In reading de Kooning: An American Master, it’s pretty clear that there’s a dispute over how much control Willem de Kooning had over his late works, when he was suffering from dementia.

At different points in time . . .

Someone else chose and laid the colors out for de Kooning.
Someone else drew the initial drawing on the canvas.
Someone else mixed the colors.
Someone else decided when a painting was completed or went to the gallery.

1955_6

Willem de Kooning, Gotham News, 1955. Oil on canvas, 69 x 79".
Albright-Knox Art Gallery, Gift of Seymour H. Knox, 1955


This begs the question:

When is a master’s work not his or her own?

Thursday, 19 March 2009

Deep Thought Thursday: How long did it take you to make that?

Artists love to hate this question they hear from buyers and customers. And, yet, you continue to hear it over and over again. What's your best response to this . . .

How long did it take you to make that?


For the best response today, I'm giving away a CD of the "Best Of" my podcasts for artist motivation. That's right, it's a contest--with a prize and everything! Here are the rules:

  • You may enter as often as you like unless you're being a nuisance and not contributing anything of worth.
  • I have all power over deciding which is the best response. Some responses may be similar, in which case I'll have to look at the nuances and get really picky. If I can't decide, I'll let Tofu, my cat, pick the winner--unless I decide to go a different route or Tofu is otherwise occupied.
  • Responses will be considered until midnight ET on Tuesday, March 24.
  • The winner will be announced in a new post next week whenever I get my act together and get it up here.

The contest is now closed, but you're free to continue to post your thoughts.

Thursday, 31 July 2008

Deep Thought Thursday: Going solo

In the June issue of Art Calendar magazine, Jack White says:

When you made the choice to become an artist, you committed yourself to a life of solitary confinement. That is, if you plan on being successful.

I'm of two minds on this. The first is that, yes, you must spend a great deal of time alone in order to find your voice as an artist and in order to produce the quality of work you need. The second voice says Oh No! You have to get out and meet people and network and find people to buy your art.

So, how much time do you need to be alone? And what are the parameters of solitary confinement?

Thursday, 19 June 2008

Deep Thought Thursday: Can art be taught?--a 2-fer

Painting and art cannot be taught. You can save time if someone tells you to put blue and yellow together to make green, but the essence of painting is a self-disciplined activity that you have to learn by yourself.

There are no goals that I still want to reach. I don't believe in goals; goals are for a football team. An artist is just seeking what he might find.

--Romare Bearden

If you're not a painter, substitute your medium in today's Deep Thoughts. They both come from the book Artists Observed: Photographs by Harvey Stein and are on the same page, so I'm offering a 2-fer. What do you think?

Thursday, 22 May 2008

Deep Thought Thursday: Circumstances and location

How much affect do circumstances and location have on the type of art you make and they way in which you make it?

For instance, your circumstances . . .

No studio? Do you have to make work smaller?

No bank account? Can't afford bronze casting?

And what about location? Does where you live influence the type of art you make or subject matter you use? To what extent?

Wednesday, 23 April 2008

Podcast: Emerge from a slump

Art Marketing Action Podcast

We all go through them. All of us. We need to wallow a bit, but then we need to find our way out.

[4 min. 54 sec.]

How do you emerge from a slump?

See related newsletters:

Craft a Starting Ritual
Get with the Motors

Subscribe to the Art Marketing Action podcast at iTunes.

Instructions for subscribing to this podcast.


This podcast is an audio version of the Art Marketing Action newsletter.

Wednesday, 16 April 2008

Podcast: Create a Body of Work

Art Marketing Action Podcast

A body of work will define you as an artist, but what is a "body of work" ?

[5 min. 38 sec.]

See related newsletters:

Define Your Style
Put Your Art First

Subscribe to the Art Marketing Action podcast at iTunes.

Instructions for subscribing to this podcast.


This podcast is an audio version of the Art Marketing Action newsletter.

Monday, 14 April 2008

Give me a number, please!

Today’s Art Marketing Action newsletter is about creating a body of work. I write, “As a mature exhibiting artist, you need to create enough work to have a couple of solo exhibits simultaneously.” But I know that you want a number.

You’d be happy if I’d say that you’re sitting pretty if you have 20 works in a recognizable style. But I’m not going to do that. (Apologies)

Hurst Image (c) Bonnie Hurst, Buffalo Painting #2 (dtl)

Some people will tell you to have enough work for two solo exhibits. In her email query to me, Bonnie Hurst noted that Georgia O’Keeffe said three exhibits. Remember back when we used to use slide sheets? We heard that artists needed two pages of slides (40 works) in a recognizable style.

But the answer can’t be the same for every artist. Some artists produce at a much slower rate and the work is grander in scale. They need more room to show it, but fewer pieces to fill the space. Other artists make smaller work. They require less space, but more work to fill it.

Exhibit spaces also vary greatly in size. Unless you’re showing your art at the same place time after time (don’t!), you can’t count on a certain number of pieces.

Bottom line: Use your best judgment. Visit exhibits with artists whose work is similar in size and scale. Count the work if you must. But, as I say in the newsletter, I think you will know when you’ve hit upon that body of work that defines you. You feel confident in the quality, proud of the results, and ready to share it with the world. Until you feel this way, keep creating. You can test the waters by entering juried shows here and there, but keep working toward that solo exhibit. You want enough work that when people enter your one-person show or come across it on your Web site, they know upon sight that the work is yours.

Thursday, 06 March 2008

Deep Thought Thursday: Success and mediocrity

When asked what advice she would give to the current generation of aspiring artists, artist Shirin Neshat said:

My only advice is to spend less time on thinking about success and put all the energy in making art itself. Otherwise your relationship to your art changes. It becomes less genuine and honest. Art should not be born from a pressure of becoming successful but something deeper. This is always a danger and the cause for mediocrity in art. . . .

Source: Interview with Linda Weintraub for her book In the Making: Creative Options for Contemporary Art.

Sunday, 24 February 2008

To sign or not to sign (your artwork)

Question from Patrice Erickson:

Is it preferred or not preferred to sign and date paintings on the front of the canvases rather than on the backs? I have always signed and dated on the fronts. On a recent visit to a high end gallery I noticed that none of the paintings were signed this way. I asked the gallery director about this and she simply said none of these artists do, however they signed on the backs. Does this have to do with how well known the artist is?

Patrice, I think this is a question of aesthetics and preferences. If a signature on the front of a surface interferes with the artist’s intent, the artist might prefer signing on the back. As far as I know, this was the case with Mark Rothko and is the case with Ellsworth Kelly. A signature would look very much out of place in Rothko’s ethereal canvases or on Kelly’s flat, all-over colors.

At the same time, Jackson Pollock easily incorporated his signature into his webs of paint and many other contemporary artists do the same. There is nothing wrong with signing the front and many, many highly regarded artists embrace this tradition.

One thing I know for sure: Sign it somewhere! Like the gallery director mentioned--signing on the back (verso) is an option. You’ll drive future curators and historians crazy without the signature and date.

Behindthetreeslarge
Image (c) Patrice Erickson, Behind the Trees

I selected this image of Patrice's because her signature is so large compared with the size of the canvas. And she has made it in a lighter color so that it very much stands out in the dark foreground. This is neither good nor bad, but the signature becomes a design element when you do this. It doesn't fade into the background, but stands out as part of the composition.

Where do you sign your art?