Carl & Jody Wright

Chasen Gallery Show

2008-06-08T08:44:00.000-07:00

The show at the Chasen Gallery is now over. It was a good show. We sold some work and met some great people. The gallery is now following up on all the leads generated by the show.

Now Jody and I can concentrate on some other items. Finishing some sculpture for the DC gallery, shipping work to the new galleries, and maybe thinking about new work to make.

With a wee bit less to worry about, am looking forward to catching up on filing, checkbook balancing, and scoping out some new public art projects.

Life is good and keeps getting better.

Photo of Kyouko Installation in Chapel Hill, NC

Good News and New Galleries

2008-06-08T08:28:00.000-07:00

There is some seriously good news that has occurred and more to come.

Jody has been picked up by a new gallery in Seattle, WA called The Gallery at Southcenter. It is located at 221 Southcenter Mall in Seattle, WA. The Southcenter Gallery is getting 9 exquisite Canine Companion Portraits.

Jody and Carl have been picked up by the Howard Gallery in New Hope, PA. The owner, Howard, is a dynamic salesman and gallery owner. Jody brought the gallery 5 outstanding Canine Companion Portraits. Carl brought up 5 quietly striking abstract sculptures.

There are three lovely abstract sculptures going to Somerhill Gallery. These sculptures are to replenish their sculpture supply and to help inaugurate their new location. Somerhill Gallery has moved from Chapel Hill to an outstanding location in Durham, NC. Their new address can be found on their website at: http://www.somerhill.com

The other good news is that there are two more art galleries currently soliciting Jody's artwork. We feel fortunate that there is such a strong calling for original art by art galleries and their clients.

2008-05-02T07:47:00.000-07:00

Here is a new video of some of Carl's Sculpture from YouTube.com. Hope you enjoy.

Upcoming Art Shows Featuring Carl & Jody

2008-03-12T15:03:00.000-07:00

There are some great art gallery shows featuring Carl & Jody coming up.

First is the Spring show at the David Dickirson Gallery at Tamarack in Beckley, WV. The show is from March 16th through April 26th. This is a show featuring Jody & Carl and 15 other highly talented artists from West Virginia. Carl will have 2 sculptures in the show and Jody will have 3 paintings. For more information call Karen Lilly (the Gallery Director) at 304-256-6843 ext. 157.

Next is the Flora, Fauna, Fabulous, & Fun show at the Chasen Galleries, Richmond, VA. The two-person gallery show runs from 4/15/08 - 5/25/08. The opening reception is on 4/15/08 from 6pm to 9 pm. Jody will be bringing 20+ paintings and Carl will have 8+ sculptures on hand. For more information see http://www.chasengalleries.com.

Jody is having a show at the Queen Street Gallery in Martinsburg, WV in Fall 2008. More details will be posted as they are available.

Carl has two exterior sculptures, Eihei & Motion, in Algonquin, IL til Novemer 2008. They are on the Main Street of Algonquin at the Algonquin Community Center.

Carl is now also represented by Park Place Sculptures in Kansas City, Kansas. See thier website at http://www.parkplacesculptures.com .

50 Secrets Book-Signing

2008-03-12T14:54:00.000-07:00

Jody's book - 50 Secrets Humans Should Know is out and Jody will be doing a book-signing. The book signing will be at the Borders Bookstore on Garland Groh Road in Hagerstown , MD on Saturday May 10th from 2pm to 4 pm. Jody will talk about her book and have 1 or 2 paintings there also that were used in the book.

Getting a gallery to pay an Artist

2008-03-09T13:50:00.000-07:00

Having run an independent stand-alone gallery for 13 years and being an artist for 19 years gives me a different perspective on gallery-artist relations. To be sure running a gallery is fraught with joy and problems. The joy comes from helping a client step up, and buy a better artwork that the client will enjoy for a longer time. The joy of discovering a new artist and promoting him/her. The inner delight knowing that many people covet what you do and know in their heart of hearts that they could do it better – if they did not have kids, or a mortgage, or had more savings, or an understanding spouse.

The difficulties come in a lot of the time in the customer service area – sometimes with customers (kind of unusual) and artists – not unusual at all. Customer difficulties are always resolved quickly since the gallery wants the clients money and satisfaction. Without either the client’s money or satisfaction, a gallery owner can’t meet his bills. If the client is truly unhappy, he/she will badmouth the gallery to all their friends. Very bad for business.

Artists are a different story. Most artists put their work on consignment – meaning the gallery owner shows the work, sells the work, collects the money, and then the artist gets paid usually 15, 30, 45 or 60 days after the sale.

The artist is somewhat dependent on the gallery owner for his livelihood. If the gallery owner sells work, the artist can more easily pay their bills. If the gallery owner sells work and has tough economic times, the artist will have trouble paying his bills since the gallery owner has the money and his needs come first (in his mind). This creates a difficult situation for the artist, how hard do you push the gallery owner to pay what is rightly due the artist? A consideration – does the artist want to continue with this gallery? Have they worked well together in the past? Is this a momentary thing?

The thing for an artist to remember is that the gallery owner has collected money on your work. He is paying someone – just not you. You, as an artist need to change the dynamic so that you are paid first. If after several phonecalls, faxes, and emails that are all ignored; send a demand letter for payment.

A demand letter basically states that you are owed money. State the date of the transaction, the financial terms agreed to, and also when you expect to receive payment before taking other action. Send the letter by US Mail registered return receipt. This is the first step in showing that you have an official record of asking for the money. You need to keep a paper trail to document what your actions are in case you need to file suit in court. This means any phonecalls before and after the demand letter get written in a log with date, time and what was discussed. Same with faxes and emails in addition to keeping a copy of what was sent. If there is still no response after about 7 days after receipt of the return receipt – contact a lawyer to send a letter on his stationary for the money to the gallery owner. That is a great tactic and usually will cost under $100. Most people do not like getting letters from lawyers and will send the money post haste.

Disclaimer: I am not a lawyer or pretend to be. A lawyer should be consulted to make sure of any and all of your rights as being owed money.

Quality, Delivery times, and Client Input

2008-01-27T15:39:00.000-08:00

Quality versus Price or Price versus Quality

After getting a wonderful commission for some artwork, there are some considerations to consider. There is quality to price issues, delivery times, and client input. First, there is a price to quality ratio. Quite a few artists I have met are of the opinion that you give sufficient quality for the price quoted. Actually the reverse is the proper way to think of the ratio. As an artist you should have a certain non-negotiable level of quality that you out into each and every piece of art that you create. That quality equates to a certain price. Then do not budge more that 5% from that price. Reason is that in many cases, the client will forget that they agreed to a lower level of quality for a lower price. When you deliver the completed artwork, then you have to resell the concept of lessened quality for a lesser price. Besides, as a pride issue, would you really want to put out substandard or subpar work for a subpar price? The client who foisted this on you is proud of their “negotiating” skill and brags to all his friends. All the braggarts’ friends see is a sad and low quality artwork that he bought because of a low price. Is that the reputation you want to be tarred with – a low budget, low quality artist? Don’t think so. Artwork should make the soul soar to a higher level, not fall to earth like a lead balloon.

Delivery Times

Make delivery promises set in concrete. Your client expects you to deliver the right item in the right time frame. Anything else is playing into the old lame game of artist as tortured soul, poor business person, etc. Also gives the customer if they are shrewd an opening to renegotiate the price downwards. Or you can invoke penalty clauses if those are in your contract for the artwork. Penalty clauses are a quick way to lose any and all profit in a project. On-time delivery is a sign of a professional artist.

Client Input

All people feel that they are creative. Be aware of this when accepting custom work. You need to listen carefully to the client, take notes, and if possible try to work in some of the clients’ notions. Ultimately though, the client asked for you based on your previous work. The client may have some great insights that will help your work tremendously. Sometimes, you have to diplomatically ignore the client suggestions – preferably not in their presence though. If your design is strong and thoughtful enough, the client will forget all about their hot trendy ideas and embrace your ideas. In fact the client may just congratulate you on how well you translated their ideas to the “perfect” artwork for them. That would be wonderful.

Art in the Corporate Environment

2008-01-17T16:50:00.000-08:00

“Art is the signature of civilizations.”
Beverly Sills

Recently, I have been thinking about art in the corporate environment. Wondering if there were any statistics, I started looking around and found some interesting abstracts.

So far the statistics are nowhere to be found. It appears that quantifying art and its impact on the workplace has not been dealt with in a published form. But it has been dealt with in a less than empirical way. Having said that does not negate the fact that art is important as a visual stimulus. The abstracts made fascinating reading and were very hard to put down.

Some extracts from an abstract by Caroline Made at St. Andrews College include: “Corporate art investment has become part of the firm’s overall business strategy to promote its brand name and image. Corporations proclaim that they house art in order to create a more enjoyable and beneficial working environment for its employees as well as highlighting the philanthropic nature of its support of the arts. ….The corporate collection bestows a complex yet highly beneficial element to the firm’s internal environment. Art in the workplace provides an aesthetically pleasing atmosphere for both the firm’s workforce as well as outside clientele.”

Her comments send shivers of delight up my spine. These comments were made about Deutsche Bank’s collection; but I would assume that they are true of any other corporate setting desiring to broaden their appeal to clients and co-workers. Art would be treasured more if there was a statistically-based, quantifiably accurate way to demonstrate that art in the corporate world increased business metrics. Say it increased productivity and morale by 45% and made new clients fall into a cataleptic fit until they bought a 5 year supply of the company’s product. Would that be great or what?

To me, it would make for an easier marketing and selling proposition. To be able to hand art statistics to a CEO or President of a corporation would be virtually priceless. CEO’s and other business leaders understand and appreciate numbers. Supposedly, “the numbers don’t lie”. It would take selling art away from being a soft, squishy selling proposition to a numbers game. One more sales objection would be satisfied.

It would be the end of boring, featureless hallways, or would hope for that. I can see the headlines now in the Wall Street Journal: XXX Technology Company Goes into Bankruptcy. You read the story and find out that the poor Luddite company owner did not buy art to enrich the company environment and his company failed because of that. And then I woke up.

Jody's Book is Available

2008-01-15T10:18:00.000-08:00

Great News!

Jody's newest book "50 Secrets Humans Should Know" is now available. It is the culimination of Jody's goal to publish a book that encapuslated her philosophy and paintings in a gorgeous package.

The book, available through most major retailers and Amazon.com, is a delight. When the book is open, two pages face the reader. One page has a copy of one of her paintings and the facing page has a a short thought that goes with the painting.

This personal-sized book is the perfect gift. Click on the link If you would like to see the paintings that are available that are in Jody's new book: http://www.wsggallery.com/Dog%20Series%20Page%201.htm

To order a copy of the book from Amazon.com :http://www.amazon.com/s/ref=nb_ss_b/104-0243492-9087104?url=search-alias%3Dstripbooks&field-keywords=50+Secrets+Humans+should+Know&x=15&y=21

Happy Reading!

Buying art from an artists studio

2008-01-15T09:27:00.000-08:00

Payment can take many readily familiar forms – cash or check. It can also include credit cards, debit cards, Paypal, barter, etc. Cash and check are pretty straight forward. Any artist can take those.

Credit Cards

If an artist is a little more sophisticated they can also take credit or debit cards. Basically this is an arrangement where the client can charge their purchase to their existing credit cards. With a little effort, an artist can get a merchant account and start taking credit cards. We found on average, that the ability to take credit cards boosted the individual sales amount as well as boosted the number of sales by about 30%. Not to shabby!

Paypal

A twist on credit cards, and a easier way to become a credit card merchant , for an artist, is to open a Paypal account. With Paypal you can take credit cards, travelers checks, etc. through your web site. Also can be used in a pinch for a sale that pops up at the studio. Very handy. Paypal is only good though if you make sales through your studio, near a computer.

If, as an artist, you do art/craft shows you will need to have a conventional merchant account though a bank. You can become a “paper” merchant – one who takes credit cards and physically calls each sale in. This is different from the normal merchant who just swipes a credit card through a credit card reader and the card is automatically verified.

Barter

Finally, barter. Barter is a hard mechanism to get right. For us it has worked well a couple of times, but you have to have the right ingredients. You first have to have two equally willing parties. Dumb as that sounds, most times one side of the barter arrangement is more keen to do the deal than the other side. There should be an established price for services from both sides of the arrangement. For instance, we did a barter about 7 years ago with a vet. We traded some art (which was priced at our normal standard price) for veterinary services (which were also priced at his normal price). This worked out well for both parties since the vet loved our work and we loved his services. He got the artwork he wanted for his business and we got a credit on our account that we used up over several months. A very good way to go.

Most times though, barter is used by people in an unequal transaction when the value or prices of services are murky. The artist usually comes out poorly, we have found. To illustrate, a client comes in and wants to barter for some art. You have done no business with them but they are eager to “do” a deal. The client wants a custom artwork and wants to trade accounting for your business for a year. Sounds good. As an artist you can spend more time doing art and less doing accounting. What a deal turns into a Faustian bargain.

After the artwork has traded hands, the accountant wants to change your accounting style from single entry (the simplest) to double entry (a much more complicated method). Next they become quite imperial in their demands that you do all the accounting for your business their way. Then when tax time comes, they make out your income taxes poorly, and give you very poor advice about paying Social Security taxes. All of this causes you to do the years taxes over your way and refill out the income tax forms. A very poor barter. This can happen, so be forewarned.

Those are the main ways we have found to pay for artwork. We prefer anything that is a cut and dried transaction. Also a cut and dried transaction gives both parties what they want now, for the client: artwork now – for the artist: money now. Barter can get messy because to utilize the full extent of the services for the artwork sometimes the party with the artwork decides that they have paid enough and gets rid of the remaining credit. Makes for hard feelings in the next transaction.

Artist Studio: Client Expectations

2007-12-31T16:45:00.000-08:00

You are psyched up. You have seen this brilliant artist’s work at a gallery. You know deep down that this is just the artist for you. Before calling the artist and making an appointment, you had better check up on the artist.

Check to see if the artist has a website. If he/she does, look carefully at it. Particularly if it is sculpture, check to see what all the views are on the different sculptures. See how the different sides integrate together. Next, see if the artist has several different styles or mediums that they work in. If they do work in different styles or mediums, familiarize yourself with them. Decide right then if you want to see these extra styles. Getting to the artists studio and finding out that more styles are available is great but can be tiring. Nicely negotiating not to see these “wonderful other styles” is tiring. Better to be clear from the start about what you are looking for. Beside you want to save your attention and design judgment for the style you are really interested in.

For example, an apocryphal story has it that Picasso usually painted in two different styles. He was said to paint in one style in the morning on a canvas and in another style on a different canvas in the afternoon. So do check up on the artist. You may find that the style that the artist is working in, that is not in the gallery, is more interesting than what was in the gallery.

Also once you get to the artist studio, be prepared for some difference in style and color than what you had seen previously at the gallery. This bit of mystery is one of the wonderful aspects of visiting an artist studio. Above all enjoy the visit. Take time to get to know the artist. They really are not that different from you.

Expectations When Visiting an Artists Gallery.

2007-12-18T08:45:00.000-08:00

Managing a sale of art versus art-seeing expectations

There are two viewpoints that are at contretemps when it comes to visiting an artists studio/gallery. The artists and the clients. Unfortunately both camps have to get over their pre-conceived notations of what is to go on. That does not mean that you can‘t have those thoughts – just that the thoughts have to be tempered with reality.

For the artist the client visit will be objective and to the point. The artist thoughts are that all visits are going to lead to quick sales. In addition, the client is, or should be, focusing solely on the art in the room or wants to discuss a commission today and give the artist a down payment to get the process started. The thing to be avoided is the client speculating or doing “blue sky thinking”. This burns up the artist’s creative time. Unfortunately for the artist, he has been surrounded by the art for a while and knows it cold. He is familiar with all the nuances and details. The artist just knows, from his point of view, what the best piece is and that the client should be happy with the artists decision and buy the artwork.

From the client point of view, all of the above could not be further from the truth. The client is coming to see the art – yes, but and this is a big but, not necessarily to buy. Above all the client wants to browse the art, discuss the motivation behind the making of it, engage in some small talk, almost anything to get away from a quick commitment/buy. The client does not want to be rushed into a quick decision, particularly if this is the first visit to the artist’s studio/gallery. Occasionally, there is also the expectation that the artist’s work that the client saw elsewhere has now taken a radically different course either in design, subject matter, color, etc. So there is bound to be some conflict here.

The key is to understand that each side – the artist and the client - both have valid points of view and that their mutual destination is the same. Eventually the client/artist situation will work itself out – though from personal experience – never in the artist’s time frame. The artist always wants it quicker.

Visiting an artists studio for better pricing

Some Clients visit artists studios to, in their mind, receive better pricing. Some clients, and to be honest some artists, buy into the notion that the artist can sell art cheaper through their studio/gallery than through their gallery representation. Some clients actually befriend artists to get their “artist friend” to make them a piece of art. There is a reason artists sell through galleries – that is so that they do not have to invest in the time and money to meet and greet clients on their turf. This frees up the artist to produce work to supply his/her gallery network. This can also be seen as profit for the artist. All businesses like profit.

Most times the client well understands that they are taking advantage of the artist. The client also does not care that the artist, by selling his work at a wholesale price, is undermining his galleries. To the client, this is a one time transaction and a good deal. The artist though, has driven a stake in the gallery/artist trusting relationship that is so necessary to sell art. No wonder galleries are so leery of artists selling their work independent of the gallery.

When artists have their own stand-alone gallery, the artwork prices should also be exactly what their galleries sell work for. Clients in this instance think that since the artists gallery is not on prime real estate that they should pay less. To turn the tables a little bit, if the client was in the artists position, should they lower their price? Just because the overhead component is less than a typical gallery do you use bargain basement pricing for a limited edition product? Not in conventional economics and not in a real world scenario.

Visiting an Artist’s Studio/Gallery

2007-12-08T08:41:00.000-08:00

The Zen of the Artist's Studio/Gallery

At some time or another most people would like to visit an artist’s studio, if nothing else to see how another profession works. This is understandable since a lot of jobs are seen as routine and boring. But with Art, (break out the soft lyrical music, the soft-focus lens, and the dreamy voiced narrator) it’s different – or at least the vast majority of people think so. Even my brother thinks that.

Full-time serious artists are like any other business person. They must make money, and a profit, to pay for their mortgages, new tools, supplies, kid’s education, etc. The typical artist does not have a stipend or money from a rich parent to endlessly dawdle over a particular project. It may seem like it, but they do not – trust me. As an artist you have to earn your way, just like any other business person.

Full-time artists for the most part have a full-time dedicated space that they work in. It is easier for them not to set up and break down their studio day after day. The setup/break down routine is a disruption to the process of getting started and proceeding with the work for the day.

With a full-time studio, comes a certain form of organization for the artist. This style of organization usually does not work well for the visiting patron who is used to seeing a completely hygienic selling space. The typical client – that we usually see – is one that has an aversion to mess, clutter, and loose organization.

Importance of an Appointment

To see a client requires the artist to make the studio presentable, so that the organization of the studio is not a distraction. I am not talking about day-in day-out maintenance of sweeping the floors, vacuuming, washing brushes etc. that is taken for granted. Putting away all the normally used tools of the trade, arranging the artwork on the walls and pedestals tastefully, putting out fresh flowers, leaving some art magazines, that mention you, carelessly left open to that page, etc. is the name of the game. As an artist, the job is to make it easy for the client to buy, by making it appear that you work effortlessly.

That is why it is important to call for an appointment. The client does not want to be embarrassed to see the artist in their less than immaculate studio. The artist does not want to be embarrassed by the clutter and what the client infers from the mess of the studio. Let’s not talk about the mess on the artist from working at their medium. Without an appointment this is a lose/lose situation.

Artist Gallery Solution?

There is also the case of an artist(s) having a gallery space on their property, like we do. Aha, this is the answer to the problem you think. Alas no. To properly take care of a gallery requires a person there staffing it full time. Yes the artist could do their art to some degree, but not with full concentration. Also this opens the artist up to client questions like: “Oh – do you give lessons? That looks easy! Do you get paid for that? Why do you paint/carve like that – that’s wrong!”. The artist’s time gets taken up while other clients, possibly paying clients, are slipping out the door. As the saying goes Been There-Done That.

One solution that we also have tried, is to have me greet all the customers who come up and accompany them into the door. Looking at it from the customer’s angle is instructive though. Since I sculpt with power and pneumatic tools I am usually covered with a fine coating of dust that leaves a cloud behind me as I walk. Think of PigPen in the Charlie Brown comic strip Peanuts.

Imagine a nicely dressed – not overly dressed- couple out for a leisurely weekend. They want to see the local artists – since a lot live around the area – and come up to our gallery without an appointment. This 6’4” man comes out, dressed in jeans and flannel shirt covered head to foot in a gray dust wearing a respirator mask and ear protectors. He looks like an escapee from a Sci-Fi movie of renegade oversized bugs. This is not a good first impression. The client will worry about getting filthy just from being within 5 foot of this creature. This artist look is also not conducive to getting top dollar for the artwork. All the while, the client is looking for a graceful way to get away without being condescending or judgmental. Even if the artist manages to get the clients in the door of the gallery, the client’s overwhelming urge to leave colors their entire visit and subsequent encounters.

Now envision the same couple but met by someone who is cleanly dressed, and not overwhelmed with dirt. Naturally the whole encounter will be better, some art can be purchased safely, and the couple are not feeling threatened. See what a difference an appointment can make? The difference between a one-time visit with no money changing hands and the possibility of a sale and the begining of a long-term relationship.

Small Efforts = Large Benefits

2007-12-05T00:23:00.000-08:00

A Stellar Idea at Art Shows

In March of this year Jody and I were two of 12 resident artists at a grand opening of an art gallery. Being one of 12 artists that actually had their art hanging in the gallery was quite a thrill. Rolling up in a limo (the gallery owner’s idea) was truly fun. Got to know what a rock star feels like rolling up to an event. The gallery doors opened after we disembarked from the limo, letting the line of people that coursed down the block in for their first peek .

I was worried that the crush of clients, in the gallery, would prevent the clients from knowing who the artists were. Not to fear, all the artists were wearing either a boutonniere or a corsage. Low key but very classy. Made the artists easy to identify so the guests did not have to feel foolish knowing if they were really talking to an artist.

Sometimes small items make all the difference in making a client feel comfortable.

About RSVP’s for a Show

In a recent show, an RSVP was requested for guests who planned to attend. Not many guests bothered to RSVP but lots of clients showed up. This caused some problems beforehand and during the show.

Beforehand, since so few people had RSVPed, there were some potentially sour moments between the gallery owner and the artist involved.

Both the gallery owner and the artist harbored thoughts that the other had not done as good a job of mailing invitations or pumping the publicity for the show. This is a problem since the gallery/artist relationship is based on trust to a large degree.

RSVP’s can also be used as an arms race. From the gallery owner’s viewpoint – the last artist show had lots of RSVP’s and the current show has very few. Means the current artist either: has no clients coming, is relying solely on the gallery’s drawing power, or the artist ranks so low in the clients mind that if there is nothing better to do they will go to his/her show. All not real comforting from the gallery owner’s view.

The artist has similar concerns. The gallery has no clients coming, they are relying solely on the artist’s mailing list, or the gallery is a very low priority for the client. Problem is that neither the gallery owner nor the artist can or should address this issue because of it’s volatility. Not a great way to engender warm fuzzy relations between a gallery owner and an artist.

During the show was the other problem. The RSVP’s give the gallery owner a feel for the logistics involved. Such as should the band be outside because a crush of people is expected? How much wine and cheese to order? Should there be police involved to direct traffic? Does the gallery owner need extra sales or cash/wrap help?

So what to do? Be kind, RSVP. Yes it does commit you to being someplace but what better way to spend a night – seeing great art by an artist that you enjoy, breaking out of the mold of staying home or going to the movies (doing different things than normal), meeting new people and renewing old friendships, and perchance buying some art. Not a bad way to spend an evening.

Your RSVP is a small item with larger ramifications. Just think, because of your thoughtfulness, you have indirectly helped make a relationship stronger (gallery owner/artist). This leads to less tension between the gallery owner and artist ergo a better evening for the client.

Such a small gift with large benefits.

The Disarray at the Artist’s Studio

2007-11-30T08:23:00.000-08:00

Normally, an artist’s studio is a reflection of the artist’s personality. If the artist tends to be somewhat unkempt – so goes the studio and usually their living space. This is true if you are a painter or in one of the messier mediums like sculpture. This goes double for shows if one person is in a show. If a couple is involved, the mess can be exponential. Fortunately in our home there is a counterbalance.

Jody is a very clean painter. She can wear a white sweater while painting and never get a paint splatter on it. If only I could be so graceful. Me, I tend to attract dirt like a vacuum cleaner sucks up dirt. My studio, never a paragon of neatness and order is considerably dirtier than normal. I figure in two weeks I can worry about the niceties of dust collection and rigid, military-like order. In two weeks the opening reception for Jody’s and my show will be done. Time enough later for order and cleanliness to make an appearance. That being said, I have instituted a rudimentary order, on the tools I use in the studio, recently which is paying some great benefits. Do not think that will extend to keeping the sculpture studio hygienically clean.

The wonderful thing about a show is that it attracts other positive events. Most of my work is usually funneled through a gallery. With the advent of the show, I have picked up two commissions. Neither commission knew about the show. Getting one commission at a time is great. Two is almost unheard of – but welcome. Jody has also got a commission coming in. Note to self – Is there a correlation between being in a one or two-person show and more work rolls in? Will have to try this as an experiment.

Art Show Angst

2007-11-24T17:00:00.000-08:00

It has been a very busy 2 weeks since my last posting. We are finishing up all the loose ends of the artwork for the show on Dec. 15th. Ordering bases for sculptures, checking paintings and sculptures for damage and repairing it, mailing invitations, sending final press releases, etc. Starting Monday, we will start some new artwork for the show knowing that all the other details are cleaned up and we can move forward confidently.

The show date is finally becoming tangible. Looking forward to getting out of the studio (something we have not been doing much of lately), and seeing old friends, new customers, and renewing acquaintances at the show. Sounds kind of like we are bears getting over hibernation. Does seem like it though.

Art Shows for artists are really a love/hate thing. Shows are great for getting the artist out of the studio and forcing them to use social skills. Some artists would rather stay in their studios and create. Not me. I like seeing people, getting feedback on my work, seeing who my customer is, breathing in air not filled with stone dust, and best of all selling my wifes' and my work. Simple things really. Also gives me an excuse to talk with friends (after the show) and also evaluate the gallery the show is being held at.

Part of being self-employed as an artist is to enjoy some of the benefits of self-employment. Shows, selling, friends, and also the solitude of the studio all are part and parcel of the package. Got to love all of it. Fortunately I do most of the time.

Think Fine Art for Christmas

2007-11-24T16:54:00.000-08:00

Thoughts on Christmas Shopping

Ruminating on Black Friday and excruciating shopping expeditions makes me think that there is a solution for holiday shopping blues. (Now that is a record – two colors mentioned in the same sentence as adjectives without trying.) Instead of enduring the crushes of humanity to get the next “latest and greatest” present that will be forgotten in a drawer in a month – think art.

There are several reasons to think art for the holidays. Fine art and fine crafts are a great way to get a beautiful, well-made gift for a pittance when bought from an artist direct, compared to what a department store would charge. The artwork/present can be personalized by a dedication that is written on the back or in an inconspicuous place of the artwork. You would have the opportunity to get a present for a loved one that is made domestically and with great care and thought. Getting a present from an artist would also show that you put a lot of time and thought into the gift; which is true. Finally the clincher: little or no crowds like there are in major malls etc.

Sounds like some convincing arguments. So when it is time to get the gifts for the special people in your life, think local – think art.

How to keep your art fresh

2007-11-08T15:18:00.000-08:00

Branding Your Artwork

There are some truisms in life. Artists want to be known. Artists want to sell their work. Preferably artists would like to do both: be known and sell their work. That is where the conundrum comes in. To become a salable quantity to an art gallery requires consistency. Namely, as an artist you produce consistently salable artwork in a timely fashion so the gallery and you can make money. Art gallery clients appear to value consistency and to some degree trends. The art gallery and your clientele accumulate your work on the premise that your style or “brand” of artwork will stay the same or evolve slowly over time.

This is a fine working system until one of two things happen. One, the public becomes saturated with the particular style that you work in. The second is possibly more ominous: you are bored with the work, but need the “boring work” to sell while you transition to a new style. Both are indicative of a change is in the air.

One evening, we invited a couple to dinner. The guy, Mordecai, was a 40 hour a week outside salesman. His dream before marriage was to be a bass player. His dream was to play bass and “mine the groove” of bass playing for his entire bass playing career. The reciting of the bass playing dream was recounted with due reverence. It would never occur to Mordecai that one day the groove would be tapped out. It was incomprehensible just like it is to a large segment of the population that dreams of “one day I will quit my job and pursue my passion”. What happens after the passion dims?

What to Do?

Finding an answer what direction to take your style next is challenging. There is no right or wrong. Usually there is no one to help you with the answer. It is a voyage of discovery.

When your style of art feels flat and dead you need to innovate not completely discard it. For instance if you paint delicate lilting florals; it would be jarring to your audience for them to see you painting screamingly bright and colorful abstracts. It stuns your clients who would then wonder that if you were doing a commission for them what would they receive? The client who asked for a subtle wafting floral – would they get a hard-edged geometric in riotous colors?

Innovation can mean using different colors. Using the same colors in your palette differently. Using larger or different shaped canvases. Maybe even introducing different elements into the art. For stone sculptors it could mean introducing some brass or steel into your work. Also if the sculpture has been monolithic up til now try a grouping of stones (think Stonehenge for an over the top grouping).

The wonderful part of exploring is that one of two things can happen. First you will be overjoyed with the result. The joy will show in your work. Your clients will wonder why you stuck with the old style so long. This is a Duh! moment.

The other result could be that the innovation tried was okay but not as good as you thought. Another innovation will need to be tried. But, in the meantime, going back to the old style is like coming home again. It is always nice to go back to the people that love you and your current work.

You can have it both ways!

Art Gallery Show Etiquette

2007-11-04T07:53:00.000-08:00

Or the Do’s and Don’ts of Attending a Show

With the advent of Jody’s and my show at Ed Chasen Fine Art coming up, it occurs to me that we have not covered what it is like for an artist to be at their very own show. Believe me it is somewhat nerve-wracking. Even more so for the gallery owner.

Do you remember long ago when you had to stand up in grade school in front of strangers and perform? Or better yet, still in school and throwing a party? Yep that is similar to what an art opening is like. The nervousness and anticipation. The gallery owner asks him/herself questions like: Will anybody come? If they do come will they buy anything? Did I advertise enough? Did I forget someone?

The artist(s) asks all those questions plus: Did I take to long talking to that person? Am I missing an opportunity by not talking to that person? Who is that person? Have I already talked to them? Am I sounding like a recording of myself – just push the “play” button and the elevator pitch comes out? Why did I not just become an office worker with a steady income, lots of free time, company benefits, paid vacation, and always an abundance of work to do – like my parents encouraged me to?

Now both the gallery owner and the artist(s) have all that in common, in addition they have to smile and act like it does not matter. Think of the Dial commercial – “Never let them see you sweat” is very appropriate. What a recipe for being or having some kind of psychological “ism” wrong with you.

What to do?

As an appreciative and supportive person of the artist (presumably you would not be there if you were not), be nice and gracious to the artist and the gallery owner. Even if you know the artist, come up and introduce yourself casually along with your date. Believe me the artist will be somewhat relieved. You have just taken off some of the pressure of a social encounter.

Talk with the artist for a minute or two or maybe a little longer if you have a question. Then mingle with the crowd. There are probably a lot of other people that want to talk to the artist that evening, but are too bashful to cut in. This is a selling event for the artist and gallery owner. Their job is to get people interested in buying art tonight and in the days ahead. Not just talk politics.

If you are interested in getting a custom artwork from the artist – make an appointment to see them a day or two after the show. An appointment after the show is a kindness. Just write your name and phone on a business card and possible times that would work for you. It allows time for the client (you) and the artist to discuss custom work in a less pressurized environment. Better art results from this.

If another question occurs to you that you would like to ask the artist – go ahead. That is what they are there for. Just remember that the artist may have forgotten that he(she) talked to you. You are not forgettable at all. Just reintroduce yourself and ask your question. Opening receptions are hard work for artists. A lot of them do not get out much – their solitary work environment gets in the way. For a lot of artists it is rather like a reception line that you shake hands at. The politician shakes your hand and moves you to the next person. You are important; there are just a lot of important people to see. Politicians also have an advantage – they have a political minder who reminds them of all the people’s names wanting to shake hands. Most artists do not have that advantage.

Enjoy the opening reception. Have some wine. Talk to the artist and also the gallery owner. The gallery owner does get lonely. Ask questions. If possible – buy some art. Have the artist personalize the art for you with an inscription. Above all have fun. It is a great night for a show and to meet people. You just might meet someone interesting or better yet find a ravishing piece of art that you just have to have now.

On Buying Artwork from a Gallery

2007-10-27T11:16:00.000-07:00

Stereotypes

Oh the abject horror of it all – going to a gallery to look perchance buy some art. Or maybe you saw a beautiful painting through the window and wanted to get a closer look. Unfortunately there was this tweedy little man/woman with over-sized horn rimmed glasses perched on a pinched face that looked you over and sniffed like they had walked into an odiferous bathroom. What a cliché.

As funny as that is, and a lot of times taken for gospel, it is simply not true. Most gallery owners and their staff are wonderful people. They come in all shapes, sizes, and temperaments. Their dual purpose in life is to seduce you with the art they carry and then follow through and close the sale for cash. Just like any other retail merchant. And hopefully come back again for more.

The major difference between a hardware merchant and a gallery owner is that you know most of what is in the hardware store and how it is used and that all the brand names are about the same. All the chain saws work the same, cut wood, and cost about the same. In a gallery same-sized paintings and sculptures can be wildly different. Some of the artists have a bigger brand name than others. It seems that in a gallery the whole affair is rigged against you.

Relax. All of the items mentioned above can be true – but probably are not relevant. Art is what you like, what you are comfortable with, and what you can afford. Over time your tastes will change – you will sell the art that you are dissatisfied with and buy new art. It is a delightful process not a destination set in concrete.

What to look for in a Gallery

First talk to friends with similar interests. Do they have a few galleries that they rave about? Visit their favorites. Check out gallery websites. Most galleries now have web sites so that you can do a quick check to see if you are interested in their offerings. Most galleries keep their web sites up-to-date. Galleries in different cities can be seen at the Archer Exchange (www.ArcherExchange.com), Art-Collecting.com (http://www.art-collecting.com), and ArtNet (http://www.artnet.com/) for example.

Every gallery is also different. Certain items though are fairly standard. They have a knowedlgable staff who knows about the art and artists. The gallery should have some stock that is not on the sales floor, that the staff is willing to show you. Some inventory (maybe as much as 25%) is in storage in the back room waiting to rotate out onto the sales floor later. Most galleries accept debit cards, credit cards, personal checks and travellers checks. Many galleries also have extended payment plans for larger purchases.

The Actual Visit

Visiting a gallery is wonderful. You get to explore a lot of new ideas at once. You get to see the gallery owners’ taste in art, how he displays it, and how he groups different art together. Lots of ideas to work with and assimilate.

Some galleries only show figurative work (paintings and sculptures that are centered on people, animals, or nature). Some galleries only show abstract work (everything else). Finally there are galleries that show both in the same room. That takes quite a personality and talent to juggle disparate styles and make it look like absolutely gorgeous not jarring.

Afraid of being swooped down upon by a bevy of sales assistants that cannot seem to leave you alone? Attend artists opening nights, Third Thursday events, First Friday events, etc. On these nights the galleries are usually fairly full of lookers and buyers. You will not be molested by the spikey-haired sales assistants (if this creature still exists); they are to busy. At these gallery events you can see several open galleries in one evening. Makes a great date as well as seeing a wide variety of art. A word of caution though – visit only two or three galleries in an evening. You can overload on the art and not remember what you saw where. That would be terrible!

Going to galleries can be a lot of fun. Go and have some fun. You will see some great art and some so-so art. But you will come away with a better idea of what you like and why you like it. That is the first step in buying art. Enjoy!

Public Art in Algonquin, IL

2007-10-20T16:23:00.000-07:00

It has been an exciting week. Left Monday to go to Algonquin, IL (30 miles west of Chicago) to deliver the two sculptures shown at left.

Near the brick building is Motion - an 18" x 18" x 24" high sculpture - weighing in at about 600 lbs. On the black pedestal is Eihei - a 9" x 15" x 40" tall sculpture - weighing in at about 350 lbs.

Arrived in Algonquin Tuesday evening. Wednesday morning two Algonquin City employees Ben and Justin along with Ben Mason from the Community Development Office helped me to install the sculptures. It was a flawless installation. Beautiful sunny day. All you could ask for for an installation.

The opening reception for the Algonquin Public Art Extravaganza is on October 25th, 2007. Should be an interesting time. This is an award winning production. Ben Mason was to go down Friday and pick up another award on the splendid job that they have done making public art relevant and approachable for the general public.

Now that the install is done it is back to preparing for the December Show. Almost to excited for words. To see more images from the Algonquin visit the link http://wsggallery.com/Carl%20Public%20Art.htm.

View of Algonquin Main Street

Hanging Art in the Home

2007-10-11T08:08:00.000-07:00

Hanging Art – Without A Machine Gun

Ahhhh, the feeling of finding the perfect painting or print. You’ve searched hard and finally found the
Metamorphosis by Jody Wright

Promised Land – a gallery/artist that makes the exact 2-D work that you have always wanted. Not just an orphan (one work) but several that you could own. After serious deliberation, you finally settle on one artwork, promising yourself to come back for more later.

Now, you’ve arrived home with your purchase and found that the perfect artwork is upsetting the whole Zen of the room that you planned to show it off in. What to do? You could either call in an interior decorator or take a chance and do it your self.

Hiring Out

If you “hire out” as a friend calls it, interior decorators or designers are a useful and wonderful person to have on tap. They are knowledgeable about a wide range of fabrics, materials, furniture and how to arrange them. They are usually licensed and are very good at what they do. It comes with a good price tag but after the ID is done with the room or rooms – they can look very finished; almost to the point of an airport lounge. The reason is that many ID’s work for corporations that want a vaguely comfortable or inoffensive place to do business.

Homes are different. They are an expression of your personality. Many people want a designer or brand namehouse with all the furnishings. That’s nice, but after you are done all you have is a house that looks like countless others in the same neighborhood. If you wanted that, you would not have shopped at several galleries to get that unique, wonderful piece of art that you now want to display.

Doing it yourself

Now to the scary/wonderful part. You get to introduce the new 2-d art to its new walls. If the painting/print is happy where you hang it all well and fine. If not that is still fine.
First take all the other hanging art down. Place the new art on each of the four walls until you find the “just right” place. After that start reintroducing the former occupants (paintings & prints) into the room. Group them together in a square, a diamond, or a diagonal going up the wall – lots of different ways. It will add interest to the room. Use the adhesive/removable wall hooks, you can find at Lowes or Home Depot, so that you can reposition the art on the walls until it just says I’m Done!
Consider leaving one wall blank – with no paintings or prints. You can even hang two parallel horizontal lines of prints or paintings; mixing different sizes and shapes judiciously. Just hold back from mixing different art styles together. It can look haphazard. Try mightily to avoid the “machine gun” effect. This is the need to put all same sized prints and paintings on the same level on all four walls. Makes a room look boring and predictable – once again a reflection of the owner.

The polar opposite of the “machine gun” approach is the manner paintings were hung in museums in the 1860’s and 1870’s. Every inch of wall space needed to be covered with a painting. With 12’ to 20’ tall ceilings the effectwas a tsunami of different sizes, styles, and colors art. A total bedlam of art that was difficult to understand or comprehend. You can easily come up with a happy medium between the “machine gun” effect and a tsunami of color and style. The final result is that with a little time and thought you can have a beautiful art collection displayed and have enhanced a latent skill that you never knew you had. One more way to make your home totally yours and not a “brand name” home in a brand name neighborhood.

Marriage of Art - Gallery Show

2007-10-04T12:32:00.000-07:00

Shameless Plug Time

The good news keeps getting piled on. About 1 1/2 weeks ago, Jody and I were asked to do a 2-person show in DC. The show is from Dec. 15, 2007 to January 1, 2008. Opening reception is from 5 pm to 9 pm on December 15.

Perfect Geometry by Jody Wright

Jody will be bringing a range of paintings. They include naturally her companion animal portraits but also feature her abstract paintings, collage paintings, and portraits of people who have made a difference in society. Some of these portraits include: Mark Twain, Einstein, and Louis (Satchmo) Armstrong.

I will be bringing several new sculptures. A new sculpture currently being worked on resembles a double helix. It is probably the first sculpture that I have removed more stone from it than I have left in.

Very excited to be in a show right before Christmas.

Embark by Carl Wright

Sculpture in Algonquin, IL

2007-10-04T12:16:00.000-07:00

Delivering Sculpture

I (Carl) have been chosen along with 20 some other artists to display their sculpture in Algonquin, IL from November 1, 2007 to November 1, 2008. I will be showing Motion (pictured to the left) and Eihei (pictured below). Am so excited to be showing my work in the greater Chicago area. It is an area I have wanted to place sculptures and have selling galleries in for several years. This is the first step.

The town of Algonquin is most accomodating to make this as painless as possible for all the participants. I, for one, appreciate their thoroughness. Looking forward to seeing the sculptures in the changing seasons.

Room Color and Art

2007-09-27T13:59:00.000-07:00

Several years ago, we invited some new acquaintances to the house for dinner. I think that they were very interested in seeing what artists lived like. You know how that goes; artists are out of the norm so naturally their home would reflect their weirdness. Well the dinner was a success but the comments during dinner were a little telling of our new acquaintances. Minerva (all names have been changed to protect the guilty), was of the opinion that all art had to be displayed on stark white walls with white ceilings to top it off. This, according to her emphasis, was akin to the 11th Commandant given to Moses. Not just any white though – bright white. Minerva took great umbrage at our living room walls being a semi-gloss red. We do have a mostly white ceiling but there is also a mural on the ceiling – with (shudder naked) people in it. Worse we also had artwork hanging on the red walls. Needless to say, there was no reciprocal dinner invitation, nor have we seen them since. Obviously, our tastes in home décor are, to be polite, dissimilar.

This is not a polemic on décor, but a reminder that there is more than one “right” way to use wall color to display art. Plain white is perfectly okay for some homes and temperaments. It gives a neutral backdrop so that the art can show through. Plain white does make your home look like an art gallery and a bit sterile (my opinion). On the other hand, lots of different deep rich color tones in one room can be a problem also. It is all a matter of taste, your personality, and how well you pull off the total effect.

There are some better slightly more adventurous solutions – without being totally daring - to make a room more inviting and comfortable. These neutral shades also show off more of you as an individual and can give a different feel to the art you purchased for the room.

Wall Color Choices

When choosing a white wall color; mix in a bit of a warm shade like red (very very little or you end up with pink) or a little yellow to warm the space up with. This will produce a subconscious feeling of energy, liveliness, or movement.

Another neutral shade to think about is a very light beige. Not coffee with cream – far lighter. Beige is a neutral color but not lifeless like stark white. This is also a color that promotes calm.

Think about picking a neutral shade such as a very pale gray – definitely not battleship gray. Make sure that the gray that you pick has some red in it. Grays can feel warm and enticing because of the warm red tints used in the paint. Grays can be cold (blue in the paint mixture) and less inviting. The bluer tones are good if you want to promote a feeling of quiet, calmness, thoughtfulness, etc. If the gray tint is to dark it will make your room(s) look dingy.

Ceilings

The ceilings are considerably easier though. White is usually called for but not just any white. To steal from a great source – Oprah – mix a slight tint of the wall color in the white for your ceiling. The slight tint used in the ceiling white will bring the room together wonderfully.

The hardest part is selecting a color for the walls. For that, input from your spouse/significant other is called for; but only if they live with you. If it is just you - do what feels right. After all this is just paint not brain surgery on your Mother.

If you are not happy with it later - change it!!

Happy Painting and Arranging!