Friday 9 March 2012

Drawing for Understanding


Drawing for understanding

March 9, 2012

Greetings!

Drawings can be awkward things. The act of drawing may feel like bending a coat hanger around something. It's safe to say that too much drawing can destroy form and pattern. Fact is, paintings are best made of patches, not lines.

But lines themselves are a way to understand those patches and the underlying forms. Beyond this, drawing is a beautiful thing in itself--often more lyrical and sensitive than the final works that follow. While often overburdened with clarity, drawings can also be mysterious, unfinished poems--the drawer explores and the observer completes.

The preliminary drawings of two of Canada's top wildlife painters make this case. Glen Loates and Fen Lansdowne both used drawings as vehicles for exploration and understanding. We've put examples at the top of the current clickback.

Artists can learn a great deal from these masterful drawings. Observed in the wild, flighty birds in particular train the eye to catch gesture at a glance. Further, the dynamics of wildlife movement and change of position need to be recorded in a few cursory lines. Having watched Fen Lansdowne sketching in the field, it seemed to me there's perhaps no subject that requires a defter eye. It's a matter of seeing life beneath the feathers.

Turned on by Loates and Lansdowne, I've been using a three-step system that might also work for you. A couple of coats of grey gesso on stretched canvas give more opacity and remove a bit of annoying tooth. I draw with a regular graphite pencil or a chisel-sharpened 4B (General's Sketching Pencil). That's the first step. The second is to get comfortable. I like to lie down on a chaise lounge or relax in a big chair. Under a good light, this is where I take my time to shade, darken, and introduce gradations and other design elements. I "fix" the drawing (Krylon Crystal Clear, an acrylic coating) so things don't smudge. Thirdly, I put my effort on the studio easel and add acrylic colour to a chosen part. While I'm no Loates or Lansdowne, I have taken advantage of the smartly-tuxedoed Penguins of Patagonia. In all humility, my pinguinos had the decency not to fly away (because they couldn't) and are up for you to look at in the current clickback, too. 

Best regards,

Robert

PS: "Open your eyes and draw. Look, look, look." (George Weymouth

Esoterica: I can always tell a connoisseur at an art show when I see someone taking their time to look at top-notch drawing. Whether as a stand-alone art form or implied in a work of art, drawing separates the condors from the cuckoos. To be great art, drawing has to be greatly executed. Greatness, as I think I may have said before in these letters, takes time and patience. Getting your pencil around things, you begin to understand. Caressing with line, you begin to feel. Do it often, and you begin to love. "I sometimes think," said Vincent Van Gogh, "there is nothing so delightful as drawing."


Current Clickback: "Scapegoat" looks at the popular human capacity for putting the blame onto someone else. Your further blaming will be appreciated. We also include the work of Glen Loates and Fen Lansdowne.

Read this letter online and tell us about your experiences with drawing. Live comments are welcome. Direct, illustratable comments can be made at rgenn@saraphina.com

Back by popular demand! One great big fat FREE book!! Yep, a totally free copy of Robert's most celebrated book, The Twice-Weekly LETTERS--960 pages--mailed post-free anywhere in the world, simply by signing up for a Premium Listing before March 31, 2012. If you have work you think the world should see, please check us out. While our listings are mini-websites in themselves, we are particularly good at sending volumes of visitors to websites you may already have. Our service costs $100 per year and we do all the set up, including changing work, etc, as you see fit. If you are thinking about it, please feel free to drop Robert a note. He'll be happy to pass along an opinion as to your work's suitableness.

The Art Show Calendar: If you or your group has a show coming up, put an illustrated announcement on The Painter's Keys site. The longer it's up, the more people will see it. Your announcement will be shown until the last day of your show.

The Workshop Calendar: Here is a selection of workshops and seminars laid out in chronological order that will stimulate, teach, mentor, take you to foreign lands or just down the street. Many of these workshops are recommended by Robert and friends. Incidentally, if you are planning a workshop and have photos of happy people working, feel free to send them to us and we'll include a selection in the workshops feature at no extra charge.

The Painter's Post: Every day new material is going into this feature. Links to art info, ideas, inspiration and all kinds of creative fun can be found in this online arts aggregator.

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Featured Responses: Alternative to the instant Live Comments, Featured Responses are illustrated and edited for content. If you would like to submit your own for possible inclusion, please do so. Just click 'reply' on this letter or write to rgenn@saraphina.com

Wednesday 7 March 2012

Enjoying some time with my good friend, Lone.  She is an art enthusiast and a director of Arts Etobicoke.  Good to have connections!

Tuesday 6 March 2012


All Content Copyright © Michael Chesley Johnson

SUNDAY, MARCH 4, 2012

Who's Buying Paintings These Days?


If you paint a lot, as I do, the paintings eventually start pushing up the rafters. You either have to sell them, give them away, or burn them. I prefer to sell mine, since that fills the bank account so I can make more paintings. But sell them to whom?

I suspect most of my paintings either go to other painters or to my students, or to older people who have always bought paintings and still have the funds to continue to do so. I suspect that the paintings aren't going to twenty-somethings fresh out of college burdened by hefty school loans. I have some other thoughts on the matter, which I will discuss in a future post.

I've put together a little survey I'd love for you to take. Your responses will help me discover who's buying today. The survey is here: http://www.surveymonkey.com/s/LNYJDWB

Monday 5 March 2012


What Art Dealers Expect From Your Artist Resume: Part 3 - your short biography

by Brian Sherwin on 3/1/2012 10:17:43 PM

This article is by Brian Sherwin, regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Huffington Post, The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Conservative Punk, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint, Vandalog, COMPANY and Art Fag City. If you want your blog posts listed in the FineArtViews newsletter with the possibility of being republished to our 17,000+ subscribers, consider blogging with FASO Artist Websites.  Disclaimer: This author's views are entirely his/her own and may not reflect the views of BoldBrush, Inc..You should submit an article and share your views as a guest author by clicking here.

As mentioned in the first two articles of this artist resume advice series -- your artist resume will be 'broken down' by several headings that help to categorize your information. Some art dealers will provide specific guidelines when requesting an artist resume -- others won't. The goal of this series is to give you -- the artist -- some ideas of what art dealers may expect. (Note: A lot of my suggestions are based on conversations I've had with art dealers over the years). In Part 1 I offered advice about the 'Name' header. In Part 2 I offered advice about 'Contact Information'. In the following article I will discuss the 'Short Biography' header. (Note: this is one of the sections that can get 'ugly' fast discussion-wise. If you choose to comment -- keep it civil).

Some art dealers will request that you include a short biography within the context of your artist resume. Your short biography should generally be placed under 'Contact Information' -- if it is requested by an art dealer. That said, if the art dealer does not offer specific artist resume guidelines you may have to go with your 'gut' as to how to approach this section. The art dealers I've asked tend to agree that a short biography should be included on your artist resume in some form.

Keep in mind that artist resumes tend to be a tad more carefree compared to a resume you would use for the purpose of seeking employment. (Note: That does not mean that typos are acceptable). In other words, art dealers -- at least those I've spoken with -- are not going to automatically throw your artist resume aside just because you included an unexpected header. That said, they may toss it aside if something desired is left out (more on that later). Thus, in this context it does not hurt to include a short biography. However, remember that the idea is to keep your artist resume as brief as possible.

As implied earlier, there are different ways to approach the short biography header of your artist resume if you choose to include it (I, for one, think you should include it). I have offered two suggestions below:

Suggestion #1: You can break your short biography down into sub-categories. For example, you will want to have a category under Short Biography for Born (include year, city and country), Age (you already listed the year -- you might as well be upfront about your age.), Current Location (city and country)... and so on. This option is rather straight forward -- and maintains the overall structure of the artist resume from one heading to the next.

Suggestion #2: You can offer an extremely brief paragraph that includes general biographical information about who you are as an artist. In other words, you will include the same information provided in Suggestion #1 -- but present it in paragraph form along with other information about who you. If you are not 'big' on writing you may want to stick with Suggestion #1.

An alternative: Some artists will combine Suggestion #1 with Suggestion #2. In other words, you can list a few categories -- such as Born and Age -- followed by additional biographical information presented within the context of a sentence or two. Remember -- keep it brief.

I must stress that most of the art dealers I've spoken with prefer Suggestion #1 simply because it makes for an easy read. It also offers specific information that may help the art dealer decide if you are a good 'fit' for his or her art gallery (Note: This is where this section can get 'ugly' comment-wise... but it must be discussed). Like it or not... some art dealers have specific conditions in mind pertaining to what their clients desire. Point blank, some collectors/clients may only be interested in collecting art created by artists from within a specific age range OR from a specific country. That may not be "fair" depending on your view of it -- but keep in mind that the art dealer knows the collecting habits/traits of his or her clients... and most WILL cater to them without a second thought.

The art dealer may not be upfront about these specifics -- especially if it is an open call. That is not to say that he or she is intentionally wasting your time. After all, in researching the art gallery (and you should do a lot of research before submitting an artist resume) you will likely be able to tell if age and country will be a factor in exhibit/representation consideration. Point blank -- if you are 25 years old you may not want to get your hopes up if all of the exhibited/represented artists associated with the art gallery are over 40 years of age. Furthermore, if the majority of the artists associated with the art gallery are originally from China... well... it is probably a good bet that the art dealer prefers artists from China. (Note: I'm not saying that is always the case... but it is what it is).

I can hear it now -- "Age (or where the artist is from originally) should have nothing to do with it if the art is great...". On a personal level I agree (and I'm certain that most art dealers would agree as well on a personal level)... as for business -- and remember that most art galleries are a private business -- the art dealer knows his or her clientele better than you. For some art collectors the age of the artist -- or where the artist is from -- is an important factor. That is not to suggest that those art collectors loathe art created by artists outside of those requirements -- but for their art collections... they know what they want AND the art dealer wants to keep his or her gallery doors open.

It is best to be upfront about said information from the get-go within the context of your artist resume just incase the art dealer does, for example, consider age and country. After all, the art dealer will likely find out anyway if the information is crucial for his or her client base -- not to mention that he or she (or gallery staff) may toss your artist resume aside if those factors -- missing from your artist resume -- are considered important.

I want to stress that I'm not suggesting that all art dealers want to know your age, country and so on for the reasons mentioned above. That said, some do. That is a reality of the gallery world -- and it is a fact that some art collectors seek artists based on age or where the artist is from. Art dealers WILL cater to the preferences of their regular clientele (business is business... and the art dealer has bills to pay) -- thus, if the art gallery collector base is looking for specific requirements based on age and location... you can guarantee that the art dealer will be thinking on those same terms regardless if he or she is upfront about it or not.

Again, it is best to be upfront from the get-go. If age and country doesn't matter to the art dealer (or his or her clientele) it won't matter if you list said information -- and if it does matter to the art dealer (and his or her clientele)... he or she WILL find out OR simply toss your artist resume aside if the information is missing. My words may seem harsh... but remember that this is all based on what art dealers have told me over the years. Art collectors will always have preferences... be it style of art, age of artist, whatever… and art dealers -- in general -- will do everything they can to keep regular buyers happy.

In addition to the above, I want to stress that I realize that many older artists are extremely wary of ageism within the art world (I'm not fond of it either) -- and that there are younger artists who want to appear older out of concern that they will be viewed as 'too young' by art dealers. Young or old -- writing your artist resume is NOT the time to be concerned about your age. Just be upfront. Refer to what I said above if needed -- and repeat. Furthermore, as mentioned earlier -- you will have an idea of what you may be getting into simply by researching the art gallery in advance... which is something you SHOULD have done before submitting an artist resume in the first place.

Next on the artist resume chopping-block... my suggestions for listing Education.

Take care, Stay true,

Brian Sherwin