Michael Lynn Adams: Art Business & Other Oxymorons

New Blog - New Web Site all-in-one

2008-09-10T20:17:00.000-07:00

I have made some changes in my online self. I have a new blog and Web site, all rolled into one:

MichaelLynnAdams.com

Please join me there, because not much will be happening here.
There is new work already showing up there, as we speak.

Thanks, and please change your bookmarks, link and such.

Back to the Easel: Kingsmen Park

2008-07-24T11:29:00.001-07:00

Kingsmen Creek
16 x 20
Oil on Linen
2008

Well, after nearly four months I finally got back the easel last week. This was a commissioned piece. It will be used to promote a fund raising auction that my alma mater puts on each year. The image will be used in the promotional pieces and the original will be sold at the auction.

The location is a creek that runs through the park at the center of the campus. The theme of the auction is "Violet and Gold," the school colors. I tweaked the local colors to work better with the theme. I suppose that puts this painting into the realm of illustration rather than fine art (who knows the difference anymore, though).

I felt pretty rusty at first, but got a little feeling of "flow" after push paint around for a little while. It's excited to be painting again, knowing that very soon I will be able to focus on painting for 8-10 hours a day for two days a week. Can't wait to get to the next blank canvas !!

"Orange" Accepted to OPA Show

2008-07-21T13:59:00.000-07:00

Orange
12 x 16
Oil on Linen

I am very excited to announce that my painting "Orange" was accepted to the 2008 Oil Painters of America 2008 Western Regional Juried Exhibition.

This prestigious OPA show will be held at Devin Galleries in Coeur d’ Alene, Idaho, beginning Friday, September 12, 2008, through Saturday, October 11, 2008. Collectors and art lovers are invited to attend the opening reception on Friday, September 12, from 5:00 p.m. to 8:00 p.m., with the awards presentation at 6:30 p.m. I hope to go the the reception, but time will tell if that is possible.

As you know, I have not created much work so far this year. This is one of only a few that I have finished. Acceptance to this show is a nice little boost as I go to my new work arrangement in August.

By the way, I am working on a new painting now. It is the first one in four months. It is a landscape of sorts. I am feeling a little rusty, but I think it is going well. I will post it when it is finished.

To the artist community: Thank you!

2008-07-16T22:58:00.000-07:00

One of the wonderful discoveries I have made in taking my art and the business of art more seriously is the incredibly supportive community of artists. Your genuine and heartfelt good wishes is so very encouraging.

Many of you have shared with abandon your own experiences. You have painted a very real picture of the challenges facing an artist who is just starting out. But along with those challenges you have shared the pure joy of being an artist.

I believe that being an artist is a calling of the highest order. We have the opportunity to use our gifts to give the world beauty and hope. We show others new ways of viewing and thinking about our life experience.

I cannot thank you all enough.

Preparation for a Big Step

2008-07-02T15:49:00.000-07:00

I have been very silent lately. I am about to take a big next step in my art career. On August 1, I will be switching to part-time employment to devote at least two full days a week only to painting.

OK, a cautious, moderately sized step. But a step nonetheless.

This is quite a sacrifice on my amazing wife's part. She's the one who makes this move possible. She is really my rock and true soul mate. If I have one incentive to make this new arrangement work, it is to make her commitment to my future successful.

I have worked full-time in an administrative position at the same university for nearly 30 years. They have generously agreed for me to work part-time so that I can devote more time to painting. The whole campus community for the President on down, have been incredibly supportive.

Here's the irony. Preparing to reduce my hours has been very time consuming. (So has a major backyard landscaping project which has been going on for far too long. More about that in a future post.)

Much of my time has been productively spent preparing the business side of my art career. Getting mailing lists organized. Updating the Web site. Getting involved in local arts organizations, establishing an online presence on Facebook, ArtSkuttlebutt.com and elsewhere.

But, for the past two months, I have painted zip. Very frustrating. I have, however, been doing a lot of soul searching primarily inspired by rewriting my artist statement under the guidance of Alyson Stanfield's book, I'd Rather Be In The Studio!. I have been reexamining where I am going artistically, and why I am going there. I believe that, once I start painting again (AUGUST 1, for sure!!), I will have greater clarity and focus in my work. I expect to be painting at a new level once the ol' rustiness is worked loose.

Enough excuses, already!

Wish me luck. And watch for new work.

On creating a style: Two paths

2008-06-24T16:42:00.000-07:00

I have been thinking about whether or not to be deliberate in developing a style. People I deeply respect, Alyson Stanfield and Juliette Aristides, represent two opinions. Artist marketing coach, Stanfield, suggests in her book I'd Rather Be In The Studio!, that an artist should consciously develop a style that is distinctive. This differentiates an artist's work from others resulting in a signature style.

Artist, teacher and atelier advocate, Aristides, suggests in her book Classical Painting Atelier, that an artist, being a unique individual, will with time and hard work, naturally develop a style that is as unique as that artist.

I am torn between the two. My gut reaction is that Stanfield’s approach is artificial. It just feels wrong to so deliberately make an effort to be different simply to stand out from the crowd. However, she might be describing exactly what many artists do naturally. And this approach could push an artist to try new approaches, chose new subjects, try new materials and possibly discover new things about themselves.

Aristide’s concept sounds appealing to the artiste in me. It is natural, almost organic, and appeals to a democratic belief in the individual. But it might also take an artist down an easy but ultimately less satisfying road. It could take a less self-assured artist down the road to imitation of masters and other artists of influence. That can happen when an artist needs the assurance that what they create is “acceptable” and "good" rather than unique.

I think the truth lies by weaving the two concepts around a central core of honest and systematic self examination. A brutally honest search for what the artist's most basic beliefs and desires to express are. This forces a daily self-examination of what and why the artist creates which in turn guides the exploration for what is unique to stay on track with those core beliefs. The result should be honestly and uniquely the artist's born from diligent practice of the craft.

Can art be taught & goal setting

2008-06-19T22:56:00.000-07:00

Can art be taught?
One of my favorite artist/teachers, Richard Schmid, tells us that most anyone can learn to mix colors, and the dexterity it takes to make a brush stroke is less than writing ones signature. But is that all that it takes make art? Of course not.

A choir director I know, after working on piece for weeks, told his choir, "Now that we know the words and the notes it is time to make music." Making music and art are gifts that not everyone is blessed with.

About Goal Setting
Artist, Romare Beardon, said, "I don't believe in goals; goals are for a football team. An artist is just seeking what he might find." Now he might be on to something, but the problem is not setting goals. The problem is not being totally aware of the joy, pain, failures and triumphs which are part of the journey in reaching your goals. We also should exercise our freedom to change our goals as we make new discoveries along the way. It would be ashame, especially for artists, to be blinded to new paths simply to achieve a singular goal.

Jazz musician Arte Shaw said the most disappointing time of his life was when he achieved a goal. For those of us who need goals to motivate us, Arte's advise was to aim higher than you think is possible and savor every moment of the journey.

Thank you Alyson Stanfield at ArtBizBlog for prompting this post.

Artists! Protect Your Ownership Rights

2008-06-03T18:28:00.001-07:00

Yes, again, this is repost. But artists and their friends cannot afford to be complacent while the ownership of their work is under attack.

Congress is considering a bill, U.S. Orphan Works Act of 2008, that would be devastating to visual artist and photographer copyright protections. The bill would require registration with fee for each image - photograph, painting, print, etc. It would also remove current "you create it, you own it" copyrights.

Congress is being pushed by large corporations who would benefit greatly by being able to "use" (read steal) orphaned (unregistered) works. Artists without deep pockets will be fee-ed out of business and/or loose the rights to their own work.

I just took action on this issue and hope you will too. You can take action by sending an email to your senators and representatives. There is more information and a simple prewritten email you can use at the Illustrators Partnership of America site - they send it to the right people, you even don't need to look your congress people up. Very Cool !

Support the House Artist Deduction Bill

2008-05-29T10:04:00.001-07:00

OK. This is a repost. But this issue will not go away until congress passes this bill.

Most artists are generous people. They often give their time and talent to others with little or no reward. But current tax law discourages artists from donating their art to non-profit organizations. The U.S. tax system accords unequal treatment to creators and collectors who donate tangible works (e.g., paintings or manuscripts) to museums, libraries, educational or other collecting institutions. This severely effects public art collections and non-profit fund raising efforts. While collectors may take a tax deduction for the fair-market value of the work, the artist may deduct only their "basis" value—essentially the cost of materials such as paint and canvas.

For example, I recently sold a small painting, "The Rugged Vase," for $900. If the collector now donates the painting to an educational institution he could deduct the $900. Had I not sold that painting but donated it to the same school, I could deduct only $30, the cost paint and canvas.

On March 13, 2007, H.R. 1524 - The Artist-Museum Partnership Act was referred to the House Ways and Means Committee.

Please urge your congressperson to co-sponsor H.R.1524, which would allow artists to take a fair-market value deduction for works given to and retained by nonprofit institutions.

It is easy to do. Americans for the Arts Web site has more information and a simple form that enables you to quickly write to your congressperson.

Please spread the word!

Story Behind the Painting: The Adventurers

2008-05-21T20:14:00.000-07:00

The Adventurers
Oil of Canvas
15" x 10"

My nephews on Flathead Lake, Montana. Life does not get better than being lost in the moment in God's country.

The Adventurers is my salute to my first art hero, Winslow Homer. His paintings of endless summer days, Breezing Up, Snap the Whip, his watercolors of the Bahamas. I love the carefree feeling he created of being out in nature and embracing life. He also had the amazing gift to create timeless and universal images from contemporary life. My hope was to come close to doing the same in The Adventurers.

Before my twenty's our family spent many summers at the family camp on Little Simon's Pond near Tupper Lake in the Adirondack mountains, New York. In 1912, my great grandfather built the compound of five buildings – a main log cabin, three bunkhouses, and a boat house. The camp, we called "Tupper," was home to us for a about a month most summers.

At Tupper, three generations would play, laugh and grow together. It was rustic living. No electricity. No indoor bathrooms (actually one indoor bath reserved for grandma). We bathed in the lake and cooked on a wood burning stove. We read and played hearts by kerosene lamps and danced to original 1920s discs played on a hand-cranked Victrola. We learned how to live in community, be creative and resourceful. It was there that I watched and later joined my grandfather and father as they painted watercolors of the glorious lake and mountains.

After my grandfather died in the mid '70s the camp was sold.

Years later, when we were married, I discovered that my wife's family owned a cabin on a bay in Flathead Lake where she spent her young summers. The Cabin is situated on the lake in a position nearly identical to Tupper Lake camp's main house, relative to the bay. Every time I visit Flathead, I am amazed by its similarities with Tupper. I am also deeply moved by that country's beauty.

The day my nephews commandeered the yellow raft, their sight took me back to my two brothers and I playing in Tupper Lake. On so many levels, this painting had to be done.

I hope you like it. Please let me know what you think.

High Art, Low Art: Who Cares?

2008-05-16T14:39:00.000-07:00

Comedian Mike Meyers once said, "there is no high humor or low humor. There is only funny." Critics and social commentators might disagree. But from a comic's perspective that is an essential truth.

The same is true for art from an artist's perspective. There is no high art or low art, there is only art. The distinction between high and low art is best left to the critics and future historians. In time, their judgment is likely to be judged by others as wrong, anyway. The tides of taste are always shifting and fickle.

Artists are doing themselves a grave disservice judging their own or other artist's work as high or low. Hogarth turned vulgar subjects into art centuries ago, as did Caravaggio and a long list of distinguished artists. Daumier's political cartoons are prized museum pieces. And as Walter points out, Rockwell's work, dismissed when created, are now masterpieces of fine art.

As artists we need to do the work, show it, sell it, enjoy it, whatever, just don't judge it on how it fits into a social or historical context. It only leads to self censorship and would be a horrible waste of time and emotion.

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This post was inspired by an an interesting blog by Walter King, BY WAY OF THE DODO: Scott Muskgrove’s Menagerie. In it, among other interesting ideas, he talks about the concept of the line between high and low art - illustration vs. fine art in this case. I encourage you to read it if only for the entertaining writing and art.

Robert Rauschenberg (1925-2008)

2008-05-15T07:30:00.000-07:00

Both the art and graphic design worlds were greatly influenced by Robert Rauschenberg (New Yosk Times article). My wife and I are both artists and designers and have been inspired by Rauschenberg's work for years. Younger artists, especially those doing collage art, may not know the great debt their work owes to his paintings and prints.

Rauschenberg's life and work were all about exploration and change. Never comfortable with the staus quo he pushed beyond the current trends of his time. He once said “I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand — I use those words interchangeably — another appetite has formed. A lot of people try to think up ideas. I’m not one. I’d rather accept the irresistible possibilities of what I can’t ignore.”

If you don't know Robert Rauschenberg work, or even if you think you know it, it would be a fitting tribute to him to take a fresh look at the creativity, richness and variety of his work.

Story Behind the Art: "Rue Mouffetard"

2008-05-14T18:25:00.000-07:00

Rue Mouffetard
20 x 16
Oil on Panel

Ah Paris! It has been a few years since we have been in Paris but the memories of the beautiful city are intoxicating.

Rue Mouffetard is an area of Paris' Left Bank not far from Notre Dame and the Latin Quarter, that has a fantastic open-air market. The aroma of flowers, produce, pastries, and cheeses fill the air as does the chatter of Parisians and tourists. This display of artichokes was so expertly displayed, with a great sense of color and texture, I could not get the sight out of my mind until I put it on canvas when we returned home. Paris is an inspiration.

In the Studio: White Mums - part 2

2008-05-13T19:41:00.000-07:00

White Mums
16 x 20
Oil on Canvas
(stages 5-8, left to right top to bottom)

The mums are coming along just fine. After the initial block in and color lift I contured the vase a bit and worked on the flower pedals. And bottom row the blossoms have become quite yellow. That is all part of the plan. That under painting, along with the in red in the shadows under them (anchoring them to the surface) will be very useful as the piece progresses. This painting will be about the whiteness of the mums, but white is rarely really white, is it?

I will be setting this painting aside for a little bit, while I work on another piece for a while. I like to juggle a few paintings a time on occasion. And now is the time for one of those occasions.

Next Tuesday -- the new painting takes birth.

Passion for Making Art

2008-05-09T17:07:00.000-07:00

A thought for the good weekend to come:

"I feel assured I should write from the
mere fondness and yearning I have for the Beautiful
even if my night's labours should be burnt every morning
and no eye ever shine on them." – John Keats, 1818

Mini Mums, 12 x 16, Oil on Canvas

The Essential Skill of Marketing

2008-05-08T15:38:00.000-07:00

Being in business, by definition, means you want to profit financially from your work. Marketing is the context in which business happens. It is not sales alone. It involves all aspects of your art business, promotion, client relations, price, sales, etc.

I believe that sales are an outgrowth of marketing efforts. Art sells when people who love the work. Familiarity with the artist often enhances affection for the work. Now, people cannot love the work unless they have seen the work, and they cannot become familiar with the artist unless they know the artist exists. That knowledge can only happen as the results of marketing. Marketing is always happening, bad or good, in spite of our level of marketing understanding or discipline. Bad marketing can be a disaster and destroy your chances of success. Good marketing is effective and in can bring tremendous opportunities for success. Good marketing can also be fun.

Effective marketing is a focused and disciplined skill essential to practicing the business of art. It is very important that marketing become natural part of business routine. Study marketing and practice it. Finding a mentor or a support group of other artists who are comfortable and skilled with marketing to emulate and coach you really helps.

Here are a couple good places to start:
Alyson B. Stanfield's Art Biz Blog
Art Career Advice blog

Artists Take Action: Protect Your Copyright

2008-05-07T10:39:00.000-07:00

Behind the Art: St. Chapelle

2008-05-06T19:31:00.000-07:00

St. Chapelle

24 x 30
Oil on Canvas

St. Chapelle, is an older work but it symbolizes much of what I believe regarding creating art and my view of the world. First a little background about cathedral St. Chapelle.

St. Chapelle was built between 1241-1248 on Isle St. Louis in the heart of Paris, France. It was built by Louis IX (St. Louis) to house Christ's Crown of Thorns. The interior was painted crimson, ultramarine and gold. The windows fill the space between very tall and slender gothic arched columns. Today St. Chapelle is on the grounds of police headquarters and heavily guarded. The juxtaposition of a sacred place surrounded by armed police is startling.

The interior space is utterly spectacular. Breathtaking is absolutely accurate. You enter the sanctuary from below by way of a narrow spiral staircase. When you enter the sanctuary you are embraced by awesome beauty. You often hear others gasp as they enter taken by the glorious volume of the space and crystalline sparks of white, red and blue light that pour through those spectacular windows washing every surface and filling the air.

So why a guy on a ladder screwing in a light bulb?
The first thing that struck me was that this young man continues a traditional chore that has been going on in that church for nearly 700 years - the rickety old ladder he climbed looked nearly as old as St. Chapelle itself. I also have a strong affinity for physical work that appears humble but has great value. His simple act is filled with deep symbolic meaning me - bringing light into the world especially in a place so filled with spiritual history. Lastly, from my angle, those amazing windows look as though they reach to Heaven. Perhaps they do.

In the Studio: White Mums - I

2008-05-06T16:24:00.000-07:00

White Mums (stages 1-4)
16 x 20
Oil on Canvas

I will be posting the progress of this and other painting each Tuesday.

White Mums features a blue and white vase with white chrysanthemums (of course). Unlike most of the flowers I use, these were not from our garden but store bought from a charming little flower store in the local super market, ha.

I love the way light plays with the surfaces, especially the depth and luminosity of the vase and how it contrasts with the mum's flat, light absorbing leaves and stems. There is also the added elements of the mum's spidery white petals and the glossy granite surface of our kitchen island. Of course this painting hardly looks anything like what I have described. But it will.

The picture above shows the first four steps of the painting. I don't know how many more step there are to go (the is part of the mystery I love about painting). All my paintings start will an under drawing. That is the bones that all else hangs upon. After the drawing come color washes for the background to give me a middle tone, then lifting color for the lights, and blocking in a solid under painting that will give the painting depth and glow at a later stage.

I will be doing quite a bit of color modulation in this piece. My hope is to create a painting that will feel solid yet light and airy, and full of subtle color shifts.

I can't wait to see what happens. When finished I will post a complete painting demonstration on the Michael Adams Gallery Web site.

Beautiful Monday: Why I Paint

2008-05-05T17:12:00.000-07:00

Each Monday I will be exploring issues of Beauty. This is an area of great interest to me. Beauty is much more than the superficial and glamorous. It is, among other things, the goodness in creation that surprises with the gifts of joy, tranquility, excitement and even sadness.

My painting is very much about beauty and the process of slowing down life and allowing beauty to engage my inner world, and I hope the world of those people who see my work.

I truly love the subject matter I choose - whether still life, figurative, landscape or flower paintings - but I have found that the fundamental reason I paint is that it forces me to slow down and really gaze at an object to discover the beauty that lies both on its surface and deeper in my soul. The following excerpt from John O'Donohue's wonderful book "Beauty: The Invisible Embrace" helps explain what I mean:

"Each person is the sole inhabitant of their own inner world. Each of us is responsible of how we see, and how we see determines what we see. Seeing is not merely a physical act: the heart of vision is shaped by the state of soul. When the soul is alive to beauty, we begin to see life in a fresh and vital way."

On my way to Scottsdale

2008-05-02T11:55:00.000-07:00

I have visited Phoenix, AZ a couple times to visit relatives. This will be the first time to have a chance to visit/scout the art galleries. I have always been impressed that there is such a thriving art community there. Several galleries look as though my work might just fit in the context of the work by other artists they show. My goal is to have my work in a gallery within driving distance of my studio. At seven hours from L.A., Scottsdale is at the limit.

We will see. I will report what I find.

Is Making Art Really Work?

2008-04-23T16:37:00.000-07:00

Peach Roses

Oil on Canvas
16 x 20
2008

The common perception that art is not really work is sometimes perpetuated by accomplished artists who make creating beauty seem effortless. I am not so sure keeping that myth alive is a bad thing.

Most people, even those who believe artists are slackers, are amazed at what we do and think we are somehow touched by the gods in order to do it. They are unaware of the deep thought and discipline it takes to make the magic happen.

Creating art can be, and often is, frustrating, and emotionally and intellectually challenging work. But I want my audience to believe that my work is a natural extension of who I am and how I see the world. I want them to believe that my painting simply flowed out of me naturally. I certainly want to believe that of other artists. But I know better - it is hard work.

But what wonderful work it is! When I am painting and am truly in the flow of the work - when time stands still; lost in the moment; the magic happening, seemingly, from outside of my control - IT ROCKS !

Those are the moments worth all the sweat and tears that mastering our craft requires.

Thank you Stacey Peterson for prompting these thoughts.

Support the House Artist Deduction Bill

2008-04-18T10:58:00.000-07:00

OK. This is a repost. But this issue will not go away until congress passes this bill.

Most artists are generous people. They often give their time and talent to others with little or no reward. But current tax law discourages artists from donating their art to non-profit organizations. The U.S. tax system accords unequal treatment to creators and collectors who donate tangible works (e.g., paintings or manuscripts) to museums, libraries, educational or other collecting institutions. This severely effects public art collections and non-profit fund raising efforts. While collectors may take a tax deduction for the fair-market value of the work, the artist may deduct only their "basis" value—essentially the cost of materials such as paint and canvas.

On March 13, 2007, H.R. 1524 - The Artist-Museum Partnership Act was referred to the House Ways and Means Committee.

Please urge your congressperson to co-sponsor H.R.1524, which would allow artists to take a fair-market value deduction for works given to and retained by nonprofit institutions.

It is easy to do. Americans for the Arts Web site has more information and a simple form that enables you to quickly write to your congressperson.

Please spread the word!

Does Art Matter? Listen to Milton Glaser!

2008-04-16T09:50:00.000-07:00

I have always felt in my heart that art and beauty mattered. That maybe beauty alone can help change the world for the good. When I listen to Beethoven or Mozart, art and beauty matters. When I see paintings by Vermeer or Chardin, art and beauty matter. Milton Glaser sheds some light on the truth that art not only matters but might just help stop us from killing each other. Glaser is an amazing designer and artist whose nearly six decades of changing the world through his work bring wisdom that no artist should ignore.

Future Vision?

2008-04-14T15:42:00.000-07:00

I was recently reminded of my grandfather's good friend, Alan Dunn. For over twenty years, Dunn was a very successful cartoonist for New Yorker and known for his sophisticated humor and coarse charcoal drawing style. My grandfather told me about Dunn's other side. He and Dunn would go on watercolor expeditions. He knew that Dunn deeply wished to also be know for his watercolor paintings. His watercolor work was exquisite and subtle, having little in common with his cartoon work. The public wasn't interested in the watercolors. They wanted what they expected from Dunn and nothing else.

On the other hand Picasso was able to work in several visual languages a time and find an audience for them all.

It is fascinating, and frustrating. There are no hard and fast rules in what makes art appealing to an audience.

I hope that learning my craft, doing the best work I know how, and being true to my vision will bring coherence to my body of work. I do have to make choices in the subject and approach. That means choosing some things over others in order to consciously guide where that body of work is going.

I wish I could say that that conviction is leading me to a solid vision of what that body of work will look like in the future. It does not. But that is part of adventure. And whether the market will be embrace or reject the work - well, I will do everything that I know how to let the world know my work it there. The rest is in God's hands.