2018: School’s out Party’s over.

Hi again. I know, I know, 2 posts in one week? Madness!

On New Years Day I like to look back over the past year and think about what has worked, what has not, where things seem to be going and what new things I would like to explore in the coming year. Sometimes sacrifices must be made to allow other things to grow.

So, in order to put more energy into the studio, including some interesting projects that showed great potential for growth in the last year, for 2018 I am discontinuing offering Art Parties,  Art Lessons and Artist’s on a Mission programs.

I guess I’ll have to get new business cards made soon then.

Public Art

Why is public art such an easy target for outrage?

Everyone seems to feel they have the right to sound off on it without knowing anything about the art, the artist, the selection process, budgetary considerations, or even anything about art in general. Case in point, Bowfort Towers. So here I am sounding off on it too. Well, not on the art, or its cultural associations or significance, or its author, or the budget, or the selection process. No, I am going to sound off on the uproar that went out, by those who know nothing about it as well as those who should know better (namely other artists who compete for public art contracts).

First of all, If you were not interested enough to participate when the call went out for public interest in participating in shaping public art policy (and there are indeed calls, as an artist who is interested in possibly one day getting a contract for a public art project, I am on the email list for notifications from the city, so I know these calls for input and participation in policy have gone out), then for goodness sake, blame yourself for not having input into what gets selected and produced, and quit whining about the need for more community consultation! What do you expect? Someone to go door to door, with a binder of the proposals for each project, to survey every household in the city?

Along the same lines, refrain from making a statement on the lack of consultation with community and cultural groups until you actually know who was consulted. Bowfort Towers came under fire for not having sufficient (or any, according to certain published commenters) consultations with first nations groups prior to approving the design. Later on it was revealed that the city’s process did indeed involve consultation with an indigenous knowledge keeper. The fact that this person might have missed a visual association with a burial platform? Well, I think that is one of those cases where a hundred people may see no visual association between X and Y until one day one person makes an association and says, “Hey, did you ever notice how X looks like Y?” Suddenly, no one can un-see it. Then the association is so obvious, people wonder how it went un-noticed. they start to assume that the association is intentional. Does this mean that a cultural gaffe has occurred, outrage is due, and changes to consultations should be made? I don’t think so, but I will leave that up to you to decide. Suffice to say there are a lot of accidental phallic symbols in yards and gardens in my neighbourhood (two small round shrubs either side of a tall narrow shrub, two small flower beds either side of a straight narrow path). I am not sure that I would get very far insisting that the owners change their gardens to accommodate my sensitivity to unintended and accidental associations.

Second, quit assuming that everyone must like a work of art for it to be worthy of being a public art work! It is not going to happen, ever! You will never achieve public consensus on the relative merit of a work of art, unless the public consists of just one person. To make a comparison, blue and red are equally ‘good’ colours. Yet some people love red and can’t stand blue, while others feel the reverse. Still others love both and others hate both. While I would not paint my house red, I cannot claim that red is not a valid colour simply because it is not my preferred colour. Yet when it comes to art, some people cannot understand that their vision of what is art is not universal, and that there is no one type of art that will be acceptable to all people. It follows then that there is no basis for an individual to claim that a work of art is not worthy of public funds because the style of the art is not agreeable or to the taste of each and every member of that particular public.

Third, quit assuming that artists do not provide economic benefits to the community where the art is being installed, but are merely pocketing obscene amounts of money for little work. There are so many elements here I can’t go into it in just one post, but here are a few points to consider: Bowfort Towers is part of a percent for art policy, common to many cities around the world, one which was reduced over the last uproar, and may be under threat of that again (which is why I suspect that this is a manufactured uproar on the part of city departments who would like to reroute that cash to their own areas). What that means is that a percent (in this case .7 of a percent) of any public works project, goes to art and aesthetics. So Bowfort Towers total budget was five hundred thousand dollars. What does that say about the budget for the rest of the project, a major interchange? Now, if paying for materials, contractors, labour, insurance, manufacturing, permits and engineering for the project itself is going to cost over 50 million dollars, why would anyone think five hundred thousand is out of line for what it is going to cost for an integrated sculpture and earthwork artwork embracing either side of that interchange? The artist may be the designer, but with any artwork of that scale, in the public domain, all the same considerations will apply as would to a public park, building or infrastructure project. Materials aren’t free, contractors expect to be paid, and the city expects the piece will be of a quality to endure and not to endanger the public.

One influential commenter felt it was insensitive when people were unemployed to spend money on public art. I would like to point out that the artist is not able to complete a project of that scale on their own in their free time, with materials scavenged out of dumpsters. Thus people had to be hired, and materials purchased, which again leads to people being paid. It can be argued that it is insensitive to the unemployed to downplay the economic benefit of these public art projects. In fact the artist and the city both made statements to the effect that 80 to 90% of that $500 000 stayed in (or stimulated) the local economy. In essence public art is a local economic subsidy that benefits many in ways besides the aesthetic appreciation. Complaining that too much is being spent on it during a time of unemployment may have the curious effect of causing cuts to funding which promote unemployment further, thus cutting the throat of the complainant’s basic argument, and maybe their income too as the competition for other jobs intensifies.

Next there is the critique that it would be great if the contract went to a local artist, rather than an international one. Yes, I agree in theory it would be great to keep all of that money in our local economy, but I will admit that I don’t know all the ins and outs of why it was not possible. So as a wise person would, I will refrain from being outraged about it. I have heard a number of explanations, such as that contracts under a certain size may be reserved for locals however over a certain size they must be open to international bidders under free trade laws, and to close them might somehow jeopardize local artists from making bids internationally. Maybe this is the case, maybe not, but either way I won’t get angry about it until I know more than conjecture. It may even come down to no quality local bids made it to the table before the deadline. Should the project be held back until a suitable proposal can be filed by a local? I don’t know. I can attest myself to the difficulties in trying to get a proposal together for a large multifaceted project call, as captain, cook, crew and cabin boy of my own ship (dinghy).

So what was the result of all this outrage? Since it is an election year, they have decided to freeze awarding any new contracts until they can review the process (again, it was just reviewed a couple years ago after Traveling Light) by which public art is selected. Meanwhile public infrastructure projects will continue to be needed, so that percent I suppose is in limbo in the budget. Will it be cut again? Will it be consolidated into a mega project? Or will artworks need to be retrofitted to completed projects after construction? What will be the impact on smaller projects, such as the Painted Utility Box Program. Generally well received, it provides small commissions to local artists while helping deter vandalism to the utility boxes. That too is public art.

In the end, politicians like to please people, and if public art controversy does nothing but give them headaches, they have little incentive to support it. Thus I find people who call themselves artists, yet insist on getting on the outrage train, to be the most short sighted of critics; they are only serving to undercut what support the arts have by our civic leaders.

Reading: Extreme You – Part 4: Break Yourself to Make Yourself

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IN Part 1 I explored drive, In Part 2 I looked at standing out, in Part 3 I looked at specialization, and finally in Part 4 I am exploring starting over.

Or more accurately I am looking at Sarah Robb O’Hagan’s chapter Break Yourself to Make Yourself from her book Extreme You.

Essentially she talks about that point in time in your career where objectively speaking everything is going well, and will for the foreseeable future, but there is no growth. It is time to move on. It is time to try something different.

I think that this can be very relevant to an artist career. There is a lot of pressure, if you have managed against the odds to find something that works in the market place, to stick with it and continue putting out visually or conceptually similar work. The famous example of course is Philip Guston, who as a successful abstract painter during the height of modernist painting made a radical shift back to figuration. Below are examples of his later and earlier work. I highly recommend you see more of his work. Google it. Wikipedia it. Go forth. But for now, back to the post.
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So, as I was this saying, this can be a challenge for an artist, because if you break out of what you are known for, well, people can’t seem knowledgable when they look at one of your paintings and can say without looking at the title, “oh thats a Bob Loblaw, I’d know his brushwork anywhere…” or whatever. And your gallerists are terrified that this new work won’t sell, because your established collectors “really like the emptiness of your lake scenes, they find the riotous colours and crowded compostions of the beach scenes to be claustrophobic’ blah blah blah.

Over time though, and from my own experience, every change circles back to a core centre of interest. The change was necessary to approach it from a different angle, a different understanding.

I have come under attack, well not attack, more just criticism, for having wildly disparate styles, sometimes abandoning  what others think I should be following.

I comfort myself with the knowledge that for each person who thinks I should go this way, someone else seems to think the other direction is more interesting!

So despite the pressure to develop my unique and recognizable style as an artist, and O’Hagans prior advice on playing your specialist game (part 3) she (and I) think it is important to maintain the right to explore different avenues, because each leads us to grow, rounds out our understanding of the world, and eventually converges with the other directions.

However, if anyone has a solution to problem of delivering the 30 second elevator pitch with so many irons in the fire,  I’d love to hear it.

Reading: Extreme You – Part 3: Play Your Specialist Game

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In Part 1 I covered personal drive, and in Part 2 I covered my thoughts (and worries) about standing out. Today we will look at Sarah Robb O’Hagans perspective on playing your specialist game.

So, I do take a little issue with this. She talks quite a bit about knowing yourself and what you bring to the table better than anyone else, and sticking to that.

BUT

From my experience as a visual artist and a creative entrepreneur, sometimes you have to be flexible, open to new ideas, confident in your ability to learn and adapt quickly, and embrace being a generalist in order to find your path to making your living.

Amoung the many things I do or have done to retain my independence and keep my studio going: Art installations, picture framing, book keeping, art career consulting, show and event organizing, commissions, murals, web design, advertising and marketing, fundraising, art lessons to kids, seniors, adults and the disabled, workshops, arts writing (for news, journals and promotional materials), competitive and performance painting events, socially engaged art projects and public performance art, private painting parties, children’s art parties and art lessons in schools. Also, I have created and sold fine art greeting cards, participated in art fairs, commercial and artist run gallery systems, and explored different media from textile, painting and pottery to video! There is more, but after 20 years some experiences start to get a little foggy.

Where I agree with O’Hagan is in assessing these experiences after the fact and weeding out the ones that really don’t work for you, or fit with your specialist game. Even if that particular venture looks profitable, you have every right to assess whether it aligns with your strengths and temperament and let it go if you don’t see a future in it for you. Others may not understand or agree with your decision, but if you can make out a reasonable pro and con list for yourself, stick with your decision and shift your focus to the things that have greater potential for you.

Reading: Extreme You – Part 2: Get Out Of Line

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In my last post I shared my take a way from Sarah Robb O’Hagan’s book on developing drive. You can read it here.

My next take away is on stepping out of line.

As part of my current 100 Rejections Project, I am sending out a lot of proposals, resumes and calls for submissions. If it were not for the aim of this project, to get over the paralyzing fear of rejection and do it as fast as possible by applying for everything I think I am capable of in the arts, I would not say that this is the best or most efficient method for me to find interesting new projects. Why? Because essentially what I am doing by responding to calls is standing in line, with everyone else who is also qualified and interested in this area. In that context, I am safe, ordinary, and definitely un-interesting.

My best opportunities have come when I stepped out of line. When I did not fill out an application, write a resume or get references. When I saw an opportunity, had an idea, and unsolicited, asked to talk to someone about it.

The problem with stepping out of line, is that it really is risky. In the arts  (a field known for individualism and boundary pushing), it can be a real challenge to step out of line without crossing the line. Consequences of crossing the line in such a social industry can mean no one will deal with you. Yet sometimes those lines can be murky, invisible, or even shift location.

If you must stand in line, there is a way to stand out. You know what the interviewer wants. I know you do. But if it isn’t you, don’t pretend it is! Stay true to yourself. Be honest with them. You may not get that part, but if you impress that person with the strength of your own gifts, they may have a better offer for you later. I have been to interviews where this was the case, and special positions or projects have been created just for me. If you do get the part, you know and they know what they will be getting.

However, knowing that my best opportunities come from stepping out of line, I can use that to quell my fears about the possibility of getting caught out of line. What could be the consequences? What is the likelihood of that? How can I recover if that happens? Is the benefit worth the risk?

A final bit of solace, in the words of Oscar Wilde:

The only thing worse than being talked about is not being talked about.

 

Reading: Part 1: Extreme You – Step Up. Stand Out. Kick Ass. Repeat.

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Well 20 minutes of deleting spam and I can finally settle down to writing this blog post. Part 1 of a 4 part series inspired by Sarah Robb O’Hagan’s lively contribution to the swift kick in the butt genre of self-help literature.

Before I begin, I will let you know that this is not my main read of the summer, even if a four part series would suggest that. In my studies on the subject of money for my currency paintings I have read some great books including:

  • The Undercover Economist Strikes Back – Tim Harford
  • Money: The Unauthorized Biography – Felix Martin
  • Financial Fir$t Aid for Canadian Investors – Mike Graham
  • Money Rules – Gail Vaz-Oxlade
  • Smart Women Love Money – Alice Finn
  • Rich Dad series (4) –  Robert T. Kiyosaki

I haven’t formulated my thoughts on these ideas yet. I am just looking at the range of thinking at this point, but sooner or later I will revisit those of most interest. Art will emerge, and possibly some reviews as well.

So why, with all of this to choose from, am I doing a four part series on Sarah Robb O’Hagan’s book?

Well, because even though there is nothing particularly ground breaking in her book, some times we all need a good kick in the pants. We need a reminder of what our passions are, why we got into our particular game, and some encouragement to find new avenues to explore that game.

Each Post will cover my take aways from her book, or what I found spoke to me (you may find something else speaks to you), rather than being an official review:

  1. Ignite Your Magic Drive
  2. Get Out of Line
  3. Play Your Specialist Game
  4. Break Yourself To Make Yourself

So without further ado:

PART 1: Ignite Your Magic Drive

 

Of all the advice from this chapter, such as starting with a doable challenge and building your momentum up to reach the big goal, choosing your own challenges and doing what you love… for me the most inspiring piece of advice about developing drive had to do with the topic of support.

Support, of course, is the support you have from your family, friends, community and larger society in the accomplishment of your goals.

This is a topic that strikes home for me as a visual artist, because as an artist, who studied fine art at the post secondary level, and who continues to pursue a fine art career, I deal with a lot of “D” words from most of the people in my non-art world. Disbelief, Dubiousness, even Derision. Jokes about art majors serving french fries float freely about our culture, and the official statistics on incomes in the industry are not encouraging. At some family gatherings people avoid talking work with me, make snide comments about people who work vs. those who don’t (because they don’t understand the nature of my work it is easier for them to assume I don’t work I guess), or offer ‘helpful’ suggestions about employment (despite having no knowledge about my situation in the first place). Their assumptions and criticisms pain me and piss me off by turns.

Rather than becoming demoralized and giving in to a world view I believe is wrong (or wrong for me), O’Hagan advises using that pain and that anger as the flame to ‘ignite my magic drive’, pushing through obstacles to reach my goals.

So thank-you Sarah, I may even post the next ‘joke’ in my studio as a reminder of what is at stake as I continue to shake the trees for new and interesting opportunities and set new goals for myself.

 

Process: Tom & Laura’s Wedding Portrait Painting

I thought it might be fun for you to see the stages of creating this modern fairytale portrait painting. I scheduled about a month, at two days per week, to work on this 16″ x 32″ acrylic painting on canvas. To learn more about commissioning a painting, click here. So without further ado:

Stage 1: Drawing using graphite and then Pitt artist pen.

Stage 2: Grisaille in Chromium Oxide Green.

Stage 3: Colour wash. Quinacridone Red, Pthalo Green and Green Gold.

Stage 4: Establish background buildings and sky.

Stage 5: Working on everything but negative space objects.

Stage 6 & 7: Work on the car.

Stage 8: Paint the figures and adjust the background to create proper recession and focus. DONE!

To see more of my portraits click here.

To learn more about commissioning a painting, click here.

Reading: PANTONE The 20th Century in Color

I picked up this book at my local library on the advice of a friend, and it is just a fantastic read, a must have reference for anyone interested in creating art evoking certain historical periods, or anyone interested in predicting future trends in colour preferences.

Essentially, Leatrice Eiseman and Keith Recker take the reader on a grand tour of 20th century western history exploring the influence of politics, social changes, science, art, design and fashion on colour preferences from decade to decade.

From the utilitarian and action oriented colours of war time decades, the soft neutrals of recessions and upbeat pastels of post war returns to stability and optimism, PANTONE seeks to not just show the what and how of colour preference, but also the why, in as much as they are able in the lushly illustrated overviews of the key movements within each decade.

Although I am not sure I would purchase the book outright, I will definitely keep it on my list for future reference. Usually if I check something out more than 3 times in a year I will consider buying it, because apparently I need to have it.

Here is a link to the PANTONE website: https://www.pantone.com/pantone-20th-century-color

Fear of Rejection – Lessons from Jia Jiang

I watched this (and highly recommend you do as well),

shortly after the new year, but it took me half a year to act on it. I realized that I was hanging too much of my dreams of future happiness on each application, proposal and submission I was sending out in to the world, and then disproportionally thrown off course by very rejection letter I got. So much so that I was finding every reason not to respond to this call or that, knowing how much time I would spend crafting each and how floored I would be if it was turned down.

Jiang’s talk convinced me I should be taking a more light hearted approach to the process, and I decided to make it my mission to collect 100 rejections per year. Rather than base my perception of success on how many of my submissions are approved, I will consider it a successful year if I have collected 100 rejections in that year.

What if one is approved, or more then one? Well, I suppose I will have to send out submissions until I have 100 rejections. Since I have had a slow start to this year, I now need to send out at least 4 per week for the rest of the year to reach my goal of 100 for a successful year.

What is your strategy for dealing with rejection?

Process: Paintings are grown, not executed.

I was posting some progress images of a wedding portrait I am currently working on to my Facebook page, One Life Fine Art (if you are on Facebook, make sure to like and follow me there), and it occurred to me suddenly that the person for whom I am making the painting could actually be terrified by what they were seeing!

The first phase was the line drawing, the second, a grisaille in chromium oxide green, and the third was the layer where I work out my major colour story (in this case a series of full strength washes of pthalo green, green gold and Quinacridone red/violet mix).

On top of that I will start to refine the forms and paint in details, balancing lights, darks and colour as I go along. To me this seems natural, but to someone who has never seen a painting grow from sketch to finish, they might have assumed the process was something like paint by numbers or colouring books, where each clearly delineated area has its individual colour mixed and applied from left to right, in one go.

I suppose some artists work like that, but my paintings are more like a living thing, layers upon layers built up from the back to the front of the painting (or canvas to picture plane), with each layer growing from the layer beneath.

The major difference is in how preplanned the painting is. Am I merely executing something which already exists fully realized in my head, or am I working with the idea to create something unique to itself?

Working left to right, filling in areas in a planned and orderly fashion is certainly efficient, but doesn’t allow me to take advantage of coincidence or discovery. Knowing that I can’t possibly anticipate every eventuality in the painting, I would rather give myself the opportunity to stop earlier than planned or change things to capitalize on coincidences as they appear. I couldn’t see these coincidences and happy accidents if I were focussing on the orderly filling of areas of colour instead of an organic approach to the image.

So, should you be out there watching my paintings take shape and feel you are on a bit of a rollercoaster ride in terms of progress, never fear, we will arrive safely. You will just have to have a little faith in the process and trust your pilot. In the mean time, sit back and enjoy the ride!