One of the things I really enjoy about living in this part of the country (north-central PA), is having four distinct seasons. So when I received an inquiry from a customer about doing a four-seasons arrangement with trees being prominent, I was very pleased. My client had already selected three pieces from my gallery on-line and wanted me to work up some options specifically for spring. After sending her several thumbnail images, she made her choice. But still a bit uncertain, she needed something else.
It always helps to be able to visualize an art arrangement on a wall, so I sent her a mock -up image of the pieces she selected. Not only did she have a better sense of how the selection would look together, she loved my specific arrangement. As an artist, it is rewarding to me that I can both create works that speak to people, and assist in how they will live with the art they purchase.
Three’s Company, an imageI made on a snowy winter’s day in Bucks County, PA, has become one of my “signature” pieces. A “signature” piece is one that is characteristic of who one is as an artist. It represents one’s style, and the attributes of what the artist is drawn to visually. A “signature” piece is one that is recognizably attributed to a particular creative.
Three’s Company has appeared in newspapers and magazines, as well as on show postcards, but it has been it’s exhibition in gallery and art festival venues that has made it known. Introduced as a Limited art print totaling 500 across all edition sizes, it quickly became one of my best selling works. One size in particular, the 16×20 matted version, has been very popular and is now almost sold out. I have updated my gallery on-line to reflect that only 6 pieces of the original 200 allocated to the 16×20 mat size are left. All six pieces are already framed and ready to ship, any remaining pieces will travel with me during my 2018 show tour (visit 2018 Tour). Other print options in the overall edition size for this image will continue to be available.
A “signature” style is something every artist should strive for. The collection of attributes which define who an artist is as a creator of works is what allows collectors to see the authenticity in the artwork. The image Three’s Company speaks to my style in several ways. It expresses my feelings for, and interest in, nature. It also exemplifies my minimalist aesthetic and my appreciation for the everyday beauty of the world. My imagery is not of exotic lands or dramatic subjects, in fact most of it is created within a small radius of miles from my studio and home. I live an aesthetic life and express that in my work.
I had a very enjoyable weekend in New York City exploring Chelsea galleries and visiting MOMA for the first time. A very action packed few days, I put over 20 miles on my sneakers walking from Chelsea to MOMA, and from Chelsea through Soho to Little Italy. My partner, fiber artist Linda Doucette, and I took in a variety of gallery exhibits in Chelsea and a couple of floors of the MOMA. I experienced my first Rothko in person, and this impressive Barnett Newman painting above. Abstract Expressionism is still a genre that I am working to fully appreciate, this trip certainly aided in that goal. A much more extended visit is needed I know.
It’s important for artists to get away from the studio and see what’s happening in the art world outside one’s normal sphere. The Chelsea gallery spaces were as impressive as the artwork. Big, white-walled venues where individual works were displayed in stark light, by themselves, not competing for anyone’s attention.
MOMA was packed on the Saturday we visited and that actually made me feel good. The diversity of the demographic of the visitors made me feel good too; lots of young people were among the throngs.
It was an inspiring few days and had me anxious to get back to my studio to start working on new prints and consider the making of new images.
It makes no sense at all to eliminate the National Endowment for the Arts as the current administration wants to do. It does nothing to balance the budget. It’s purely being considered because of political reasons.
To be honest, I hadn’t realized just how little a budget the NEA was working with. I mean really, less than $150 million a year! To support the arts at a national level for such a paltry amount of money is a disgrace in itself.
Here’s some math I did. I found that 65 million voters selected Clinton for President last year. If half of those voters were to spend even $200 (two hundred dollars) in original works by contemporary (living) artists, it would equal well over $6,000,000,000 (six billion dollars!) in art sales this year. That’s only $200 in original artwork in a year! It’s good for people to have art in their lives, it’s good for the country economically, culturally, socially, and its good for contemporary artists.
I enjoy buying artwork for myself and gifts. I also appreciate it when I receive art as a gift.
The process of getting into the various shows I do each year requires a sometimes complex set of actions. The most important starting point is deciding with which images I will represent myself. These must be images that are visually strong, have been made within the past few years, and authentically represent my personal aesthetic. It is a rather stressful process because I can’t know how any show juror(s) will respond to my work. As a full time, independent artist, getting into shows, and more prestigious shows especially, can greatly affect my livelihood.
All I can do is send in the work that excites me most, represents who I am as an artist, and hope for the best. Different shows have different submission processes, but most now charge an application fee just to have one’s work considered. Then there’s the show fee, often a fee for electricity, travel costs, hotel costs, food……..and so on. As an independent artist, I am both the creator of the artwork, manager of the business, and the art dealer.
My 2017 show schedule is beginning to take shape and will be updated on my website soon. But, the process is just at it’s beginning and I am updating my image selection for applications. The image above is one I selected for this year. It is part of a series I am doing on meadow grasses and other botanical subjects. For this series, I have been primarily using a few antique lenses made about 60 years ago. Using an adaptor to fit the lens on my Fuji camera, I’m creating images that are quiet, peaceful, reflections of my feelings while in the field and my personal aesthetic. My work may be seen HERE
opportunities for artists to get published through local outlets. The impact of getting published can be increased sales of artwork, increased recognition, and enhanced status.
My first photo feature was published here in Bucks County by Bucks County Town and Country magazine (now known as Bucks County magazine). This led to a long relationship including a winter feature published in 2011. Importantly, it also led to other publication opportunities including major contributions to two book projects about Bucks County.
The June/July issue of Professional Artist magazine is chock full of useful information, but I’d like to point out the article on giclee prints by Renee Phillips. Giclee printing is still misunderstood by collectors and this article really gives a strong basis with which to educate clients.
I was at Artists’ Gallery in Lambertville, NJ this past Sunday (Dec. 30) meeting and greeting visitors. A very nice couple came in sometime during the middle of the day and selected a framed piece of mine to purchase. The sale represented my last sold piece of the year and so that made it a bit more special. The image is of a flock of Cedar Waxwings in a tree against a winter white sky. I titled the piece Birds of a Feather and printed it a bit high key in order to bring out color and details in the birds and limit any texture in the sky.
The image itself was made during my first outing of 2012 (in January) and the last image that sold in 2012. The print itself was the first that I made of this image as I introduced the print late in the year. The sale made me feel like I was completing a circle of sorts.
I used a Canon EOS 1D Mark III camera with a Canon EF 500mm f4.0 L IS lens fitted with a Canon TC1.4X III to make an optic of 700mm. This rather heavy combination is placed on a Gitzo tripod with a Foba Superball tripod head and Wimberly Sidekick.