Of Art, Fashion and Gardening

THE BEGINNING OF MY TRAIN OF THOUGHT:

This is a photo of the garden about a mile from my house. The photo was taken about a year and some ago. The gentleman who planted the garden finally made the choice to put himself in assisted living. A middle aged couple bought the house late this spring. Immediately the blasphemy began.



First let me describe what makes this garden so special. Its maker was so restrained in his design focusing on textures, specifically the textures of evergreens: picea, mugo pines, dwarf spruce, golden thujas, juniper. The shades of green- from blue to yellow- were stunning. He then created sparkle by dropping in heaths and heathers. The dainty blossoms of pink & purple were about all the excitement this garden could stand. It was elegance defined- and all by an amateur gardener!

The new owners' blasphemy included digging out a stand of red twigged dogwood, which provided winter interest, to put in a circle of white phlox, Star Gazer Lilies, birdbath & gazing ball. Each of these things on their own, or perhaps in a different setting, would be fine. In this garden of cool contrasts and restrained elegance it felt an awful lot like like bringing a Vegas showgirl to a society cotillion.

A MINOR DIGRESSION:

The other day I had three older women come into my gallery- a private reunion for some Wellesley roommates. Each of them were dressed so superbly. They were each aware of their body types, body limitations and what might come across as too trendy as opposed to stylish. Their accessories were perfect. They has the most beautiful jewelry- not too much! Just the right amount. Even their make up was not noticeable next to the fine shine of their natural assets.

Where do women learn to dress like this? Wellesley?

WHAT'S THIS GOT TO DO WITH ART?:

For years I have pondered the differences are between good art and bad art. Don't expect the answer in this post. Philosophers have been pondering it for millennium. Don't expect a Podunk NH art dealer to answer the big question.

I have noticed that good artists apply their paint (or whatever medium) with confidence. The tentative stroke is for those who haven't spent time, time, time developing a masterful one. Please don't ask me to describe a good stroke. I have had this conversation with many artists I respect who are equally mystified by trying to describe it. We fall back on the old trope of "I know it when I see it."

Along with the confidence in knowing how to apply one's medium comes the confidence to know when to stop. The amateur cannot resist fixing just one more thing. This almost always comes at the expense of the painting. It becomes over worked and muddy, the strokes become labored and wooden, the frustration mounts and it all becomes clear on the canvas. A good painting feels effortless and will sing with a sort of internal vibrancy.

TYING IT ALL TOGETHER:

I aspire to achieve the heights in all of these categories- art, fashion and gardening. I don't think I am shallow but that visual things give me huge pleasure and satisfaction. The world is interpreted through my eyes. I don't think many people see me as particularly fashionable, but I look for clothes that complement me and make me comfortable and feel good. I would like to think I cut a reasonably stylish figure. Some people might think me an art snob and others an art novice. I enjoy it at my level but am not afraid to reach for the next. My gardening is probably my most wooden achievement. Like many amateur artists I get caught up in the details at the expense of the big picture.

As I have stated before refinement come with paring back rather than adding more. Edit!

Artistic Savant

I am not talking about the artists whose work is pictured.... it is just the only picture I had of some art.

I was driving to work yesterday and was thinking of all the artists who have called to make sure my gallery/business is doing okay. I know they like me, but I am also an important cog in how they make their livings. Nevertheless I am touched by their concern. We need each other.

My mind turned to all the artists out there who are struggling to meet their bills. One in particular came to mind. He mentioned that in about 3 months he will have no more work. His commissioned pieces are generally stacked up for a year. He is highly skilled and esteemed. But my biggest concern is I can't imagine him doing anything else to support his family. Working in a factory?- he would be useless on an assembly line. An administrator for a non-profit?-I don't think he could take or give directions well. A truck driver?- he would wander off the road looking at the landscape.

He has one skill set and one skill set only. He is an artistic savant. When I thought of that I almost fell to the floor laughing. I am so funny. Besides - there is nothing left to do in these tough times but laugh about it and keep on plugging.

Which once I have wrapped my mind around the whole stimulus package I will no doubt have a whole post on the role of the arts in our economy.

The Glamourous World of Art Slides Dangerously Close to Pornography

That is a post title designed to enhance traffic. To really sucker people into my blog I have included this seductive photo of my naked dog.

The back story is that I had an artist cancel a show- very last minute- but being a woman of resilience I threw together a group show to open at the end of January...designed to take advantage of the Valentine's Day Holiday. The theme is "Love & Desire." So I braced myself for the submissions.

Today I was reprimanded by an artist for rejecting a piece that I felt was too explicit. I worry that the subtext to our disagreement is that the subject was homoerotic and that I am a prude when it comes to homoerotocism.

The truth is that the line between pornography and art is mighty thin and I am not always sure where it is drawn. Regardless of the subject of lust and the sex of the lustee, there is a point where the viewer no longer is invited to share the beauty of desire and merely becomes a voyeur.

But I also struggle with artists who ask us to look at the uncomfortable. While there are pieces I may not want to look at over my mantle, it does not mean they are without merit or meaning. At the other end of the spectrum are artists who vie to create the most novel or shocking image. After the novelty has worn off, what are we left with? Does the work of art still stand up as a piece of beauty? Or does it become a dated marker of the taboos of its day?

Sigh.... I wish I didn't have to think so much about this and could just accept this show as a real PR blockbuster. Just think of the headlines...."Gallery Director Busted for Peddling Porno in Main Street Shop. Mayor, in Adjacent Condo, is Disgusted."

There Are No Bad Artists

I was chosen to be a judge at a somewhat local art association's annual show. I pick and choose how often I do this but understand that it is my job to give back to the community when I can. They at least sweetened the pot by giving me a small stipend to cover gas. It was also a nice excuse to spend the night at my friend Louise's as she was only 1/2 hour from this event.

So this morning two other judges (a local gallery owner and an art teacher from the Tech) and I convened on this show of over 100 pieces. There were at least 25 categories that we needed to choose pieces for. It guaranteed that we spent as much time looking at the labels as at the art. Example-We had to choose the best example of a portrait by a professional. After much hunting we found that only two pieces fit in that category. We agreed very quickly on which would win that particular prize.

The category that gave us the most trouble was best landscape in oil. You would think that in NH that everyone would be comig up with a new interpretation of what we look at every day. But no, they seemed to offer up the same trite interpretation painted in colors straight from the tube.

We also had to pick the top three best overall pieces. The other female judge said "Enough with trying to be fair. I refuse to just dole out an award to someone because we simply don't want to give any individual more than one award. I don't want to encourage bad painting." I am always so careful about being judgmental about art- even though it is my job to vet artists daily in an effort to deliver the best to my customers and maintain my reputation. There is always such a fine line to walk. I was very glad that she said this out loud instead of me.

The other judge shared a story one of his professors shared with him. "There are no bad artists. Everyone is out there doing the best they can to get better and to enjoy themselves. That being said- there is a whole heck of a lot of bad art."

I then shared with them my trip to the Museum of Bad Art in Massachusetts. This museum features the absolute worst work they can find, with thoughtful and professionally written interpretations. As a gallery director I often find it difficult to explain why some art is bad, but as a rule most professionals agree very rapidly on what is bad.

Likewise it can also be very difficult to describe what is good art. Especially when I bring up that most nebulous of categories- surface interest and good brushwork. Even good artists are stymied by trying to describe it, yet we all know what it is.

Perhaps on my upcoming drive to Prince Edward Island I will give over some mental time to trying to describe these things.

photo credit: MOBA, Lucy in The Field with Flowers

British Prints/El Greco to Velasquez

As gardening season really hasn't begun in earnest, I am taking the opportunity to get my fill of art. I have been meaning to see the British Print Show 1913-1939, at the Museum of Fine Art in Boston for quite sometime. It is there through June 1 and I highly recommend it. I went today....although I also highly recommend waiting until Art in Bloom is over. The place was shoulder to shoulder with women who wear pearls looking at artful flower arrangements plunked down in front of art.

The Vorticist Movement in pre-War (WWI) England was a parallel to the Italian Futurists. It was all swirling lines, movement, machinery and a dash of populism- what with all the heavily muscled working class men.

Almost all the prints in this show were lino-cuts. The blocks were linoleum instead of wood, so were not considered a real artistic medium, paving the way for women to grab their carving tools and make the medium their own. At least 1/3 of the prints displayed were by women. The second image, of a farm in his field plowing, is by Sybil Andrews- a British born Canadian. It is unusual for a show at a museum to prominently feature so many women artists without turning it into a political thing. They were included on their own merits.

I had an advance copy of the catalogue so was quite familiar the images, but was unprepared for the richness and nuance of the colors- especially as most of the prints were done with just four separate blocks- red, blue, yellow & green. The surfaces were like velvet- the real silk stuff, not the cheap polyester imitation-you can't imagine prints so rich with color. These colors just sat on the surface of the paper with all the preceding colors of ink shining luminously through. Sometimes a little off register the previous plate colors would bleed out from under the top layer giving a vibrating edge to the image. This added to the heightened sense of movement which was integral to the Vorticist's work.


El Greco to Velasquez opened up at the MFA a week or two ago so we felt obliged to take a look. After all these are the greats of Spanish art.

El Greco still looks as kooky as ever- that is the Ecstasy of Somebody or The Expulsion From the Garden. As my viewing partner pointed out "At least he has a point of view." He could really paint religious ecstasy and there is no denying what was going on. I think he really excelled at portraits. Without all the other activity going on in the canvas-just a single sitter- the viewer is really able to notice El Greco's brush stroke. They are broad and almost haphazard, yet they still build up to create a lifelike and convincing human.

Velasquez was good at portraying the more humble people. He was clearly a skilled painter and able to convey flesh and blood convincingly. He also excelled at portraiture- his veered more towards the Dutch model. His figure were solid, noble, supported by a dark background- and amazingly static.

Both of us became a little weary of this exhibition and all its crucifixes. I don't know if it was just that our modern sensibilities couldn't take in the old stories. Were the colors of El Greco & Peter Paul Rubens too lurid? I much preferred the clearer colors and straight forward compositions of the British Print show to the Spanish Painters.

Color Field Painters

My sister and I took the metro into the city on Saturday to check out the museums. Saw these two cute and stylin urban girls playing with a toy on the way in. They jumped off-all smiles and giggles about two stops before us.








We finally found the American Art Museum, by way of the Building Museum where we found a great display of David McCauley's wonderfully funny drawings. They are both up in the Chinatown section of the District. The American Art Museum shares space with the Portrait Gallery which I always thought would be boring but is really fascinating in that it tells the story of our country through portraits - both of famous Americans and by them.

Wandering into the contemporary wing was eye opening. It was like being in a completely different museum- airy, light and sparely "hung" with offerings. A Jenny Holzer installation was fascinating in that it gets you to stop and stare in way that most art can't. There was a nice Ellsworth Kelly that was nice to compare to his sculpture we saw at the Phillips the day before. I like the sculpture better.

The Color Field show was a real eye opener. It was like walking into a bowl of sherbet. The colors were so lush and seductive. That is an Adolph Gottlieb above. While the works weren't about painting per se, the paintings were entrancing nevertheless. Beautiful, beautiful, beautiful.

Visiting the Phillips Collection

Beautiful day in DC- the temp was in the eighties and everything was in bloom- azaleas, redbud, tulips, candytuft- EVERYTHING! We visited the Phillips Collection and saw the newer acquisitions show-Degas to Diebenkorn or something like that. I always forget how much I like Arthur Dove. Saw this beautiful painting titled Flour Mill II-lovely.


We went to the National Arboretum which I have never been to- 100's of acres of wonderful plants. They have stunning display gardens and were also having a show of ikebana arrangements and bonsais. We then drove through the park looking at more things in bloom and beautiful vistas. My favorite was the evergreen collection. They have several dwarf hinocki cypress that are no long dwarf-10 or 12 feet high. My little 2 footer would look pathetic. We found a gazebo and sat there for about 1/2 hour taking in the loveliness. We could hear some traffic as we were near the preimeter of the park, but it was still an amazing experience to be in the middle of a major city but all we could see were plants and birds.

An Article I am Working On

Why do you collect art?

I often hear people say that they cannot afford to purchase art, but this frequently means that they are frightened of showing that they don’t know anything about it. The learning and discovery is, to me, the most thrilling aspect of collecting art. It is an opportunity to hone your eye and expand your horizons. For many years I enjoyed wine but felt that I could never learn about “good wine.” I felt it was beyond my experience and abilities. At some point in my life I decided to try experimenting. There are some wine shops I feel comfortable going in to and describing what I like and asking for recommendations. I state my budget and my tastes. I have learned a lot- I will even occasionally drink a rose! Art can be like this too. You will find that there is some affordable and good art to be had if you start looking and asking questions.

Some gallery salespeople may try to tell you that art is an investment. Sometimes it is and sometimes it isn’t. There are a lot of factors that go into investment grade- or blue chip art. Your primary reason for purchasing art should be for the enjoyment of the piece. It should give you pleasure for years to come. Unlike cars or clothing, it will never rust or go out of style. If you still insist on buying art that could potentially hold its value- look at the artist’s resume. Are they in good collections? Museum Collections? These are indicators that an artist might go the distance, but this should be considered a fortuitous bit of luck- often times realized only by your children or grand children.

Collecting art doesn’t just benefit you; it benefits artists and galleries too. I like to think of a purchase as a direct grant to an artist. Through your purchase you are saying that you think their work is good and worth pursuing. The money keeps that artist in rent and food so that they can continue to create more art. This is the main reason that my gallery is committed to showing the work of living, regional artists.

Purchasing art also helps to keep your favorite galleries open, giving you an opportunity to view lots of different work. Commercial galleries do not receive government funding or have boards to raise funds, so they thrive or falter depending on how much support they get from people coming through their doors. So not only are you doing all this good work- you also get a beautiful piece of art to hang on your walls!

My favorite reason to collect art is that I love it and I love how it looks in my home. It is an opportunity to express my tastes and make an individual statement. One of the best compliments someone ever paid me was “your home looks like you.” My home offers me rest and relaxation – and the art is a big part of that feeling. I try to instill that spirit in others when they are purchasing art for their home. They should really love the piece and it should make them happy when they look at it.

Another very personal take on collecting art can be read about at http://artregister.com/seavest.html.

Where do you collect art?

Many people are intimidated by the thought of entering a gallery or are concerned that there will be an admission fee. Commercial galleries have no admission fee as a museum does. They make their money by selling the artwork to people, but you are under no obligation to purchase something because you have walked through the front door.

In most galleries you will probably be allowed to wander through on your own. This is a great way for you to be come familiar with a gallery’s artists. If you see something you like, be sure to ask if there is more. There are often many pieces which are stored. After you have visited several galleries you will find that certain ones appeal to you more than others. Galleries are mostly owned by individuals who have a distinct personality, which is reflected in the art that they offer. Make sure that you get on their mailing lists so that you will be notified of all upcoming shows.

There are also ample opportunities to buy art at art schools, artists’ open houses, art auctions and even eBay. One of my customers only buys from second hand shops. He has a wonderful eye and picks up some quality pieces for very little money. He then frames them in top notch frames to make the pieces look really special. When you purchase art from people you are not familiar with be sure to ask very specific questions about condition- especially if they are framed which might mask condition problems. I have seen many pieces purchased sight unseen, which then have to go to the conservator to be repaired from being improperly handled or framed.

The only places I do not recommend purchasing art are on a cruise ship or in a resort town. These sales take place far from home when people are not thinking clearly- they are often extremely relaxed as they are on vacation or have had too much to drink. Resist! Your defenses are down and it is a spur of the moment, impulse purchase often driven more for a desire for a memento of the trip than a love of the art. Save your money and buy a snow-globe.

Once you have found a couple of galleries that you like, try to visit them frequently. Things change often- new artists are brought in, shows change regularly. It is also a good way to establish a relationship with a gallery and to learn more about their artists. Once they know what you like they will probably contact you when something of interest comes in- giving you first choice.

How do you collect art?

Another reason that many people never start an art collection is that it can seem so overwhelming. So much to learn! One way to limit what you have to look at it is to only collect a certain style, medium or geographical region. Some of my clients will only collect New Hampshire or Maine artists. Some like to focus on just prints or only living artists. Others are only interested in abstracts. This is one way to really give your collection focus. It is also a way to become very knowledgeable about a certain segment of the art world. One of my favorite collectors focuses on prints and ceramics. His collection is prodigious- as is his knowledge. He is able to keep abreast of everything new in the print world and frequently teaches me a lot about it.

Go to shows at galleries. You can see a lot of work by an individual artist. If you go to the opening you will have a chance to meet the artist and ask them about their process. Don’t expect to always like what the gallery is showing, but you are exposed to it and are allowed to make up your own mind. Disagreeing about the merits of different art allows you to view and collect within a context. I often find that people will start off saying they don’t like something and then, over time, warm up to it.

Once you have decided that it is time to start purchasing, let the gallery know what you want to see. Tell them your budget and style constraints. They should be willing to pull out a number of pieces for you to view. Don’t be afraid to let them know how you feel about the work. That sort of guidance helps them to bring out more appropriate work.

Most galleries will allow you to take a piece home on approval. They may ask for a credit card number if you are not a regular customer. If you like a piece ask the gallery person if this is an option.

You are going to see a real range of prices in a gallery. Generally an artist can charge more for their work if there is a high demand for it or if they are a more established and respected artist. Don’t hesitate to ask if there seems to be a discrepancy between quality and price. The gallery should be able to explain it satisfactorily. It usually boils down to the fact that an artist’s work has sold consistently at that price.

Once you have purchased a piece of artwork, the gallery should provide you with information on the artist- perhaps a bio and artist statement. They should also provide you with, at the very least, an invoice stating what you have purchased and for how much. You will need this for insurance purchases (more on this later.) Often times galleries will provide a certificate of authenticity as if it guarantees that you have purchased a real piece of art. I find certificates of authenticity pretentious and serve only to bolster the purchaser’s confidence in what they have just bought. The only real guarantee is to purchase from a trusted gallery.

PRINTS AND REPRODUCTIONS

A confusing issue for art buyers is the term “print.” It can be used to refer to a reproduction and to a fine art print. A reproduction is a copy of an original piece of art. Even though a print has an artist’s signature does not mean that it is an original. A fine art print is the original art. The artist will create an image on a plate or block (matrix), which will be inked. The image is then transferred to a piece of paper. These prints can be in editions as small as 1 (monoprint) and up to 250-300, although most range in the 50-125 size. Because these prints can be produced as multiples, they are frequently less expensive than paintings. The price will be based on both the artist’s reputation and the size of the edition.

On occasion an artist will use a master printer to print their work. There are many reasons for this. The printing process can be physically difficult or the technical nature of a print requires a very skilled hand to bring the artist’s vision to fruition.

A new process for reproduction has further muddied the waters. Giclees (pronounced zhee-clay) are produced on very high quality ink jet printers from very high resolution images of the original artwork. Because the image is on a computer it gives the artist much greater control over the colors than any other reproduction process. This process is expensive as reproductions go, but gives buyers an in-between price point on an artist’s work without forgoing on quality. These are frequently hand signed by the artist, but are nevertheless a reproduction.

There are a number of photographers and digital artists who use the giclee process to print original works. These are originals and not reproductions as the originals exist on computers until they are printed. The giclee process is perfectly suited to their mediums.