> $$$ VALUING YOUR ART
Hurrah!
In THE ARTIST'S MAGAZINE issue of January/February 2007 (page 29), author Jill Snyder rightly confirmed the proper pricing of studio art by writing, "The insurance value of a work of art in an artist's studio is usually established according to net value, or the percentage that the artist would receive if the work were sold through a gallery."
Her statement bolsters my long-held and taught advice that artists MUST represent their values at, and ONLY at, wholesale in the absence of an Exclusive contract with any seller.
Why?
- Work sold in a gallery, of any kind, will be sold (i.e. "retailed") at added percentages (i.e. "commissions") of anywhere from 5-60% over and above wholesale. So, it is all but impossible to KNOW in advance what percentage the artist would receive if/when the work sold there!
Protect yourself, and your family.
Price your art at wholesale, in writing, at ALL times!
Saturday, December 16, 2006
Friday, December 15, 2006
December 2006 Page 11
> WALT DISNEY IN MISSOURI
Walt Disney moved to Marceline, Missouri from his birthplace, Chicago, at age 4 and lived on a farm there until 1911, when the family moved to Kansas City where they remained until 1917. Marceline is in the north central portion of Missouri, and the town still claims part of the great artist's legacy.
> JASPER JOHNS AND MARCEL DUCHAMP
Interesting anecdote about Duchamp by Johns, quoted in December 11th issue of NEW YORKER magazine (page 85):
Johns and Rauschenberg were having a Christmas dinner together with MD and "Teeny" (his wife, Alexina) in 1959 in Chinatown, NYC. When an interviewer had recently asked why he (Duchamp) had quit painting in 1918, he'd answered that it was "... because of dealers and money and various reasons. Largely moralistic reasons."
During the dinner, MD corrected himself by saying, "But you know, it wasn't like that. It's like you break a leg - you didn't mean to do it."
Walt Disney moved to Marceline, Missouri from his birthplace, Chicago, at age 4 and lived on a farm there until 1911, when the family moved to Kansas City where they remained until 1917. Marceline is in the north central portion of Missouri, and the town still claims part of the great artist's legacy.
> JASPER JOHNS AND MARCEL DUCHAMP
Interesting anecdote about Duchamp by Johns, quoted in December 11th issue of NEW YORKER magazine (page 85):
Johns and Rauschenberg were having a Christmas dinner together with MD and "Teeny" (his wife, Alexina) in 1959 in Chinatown, NYC. When an interviewer had recently asked why he (Duchamp) had quit painting in 1918, he'd answered that it was "... because of dealers and money and various reasons. Largely moralistic reasons."
During the dinner, MD corrected himself by saying, "But you know, it wasn't like that. It's like you break a leg - you didn't mean to do it."
Thursday, December 14, 2006
December 2006 Page 10
> ANN HATCH
The 2006 ArtTable Visual Arts Award has been given to the generous and dedicated Ann Hatch... founder of Capp Street Project, and major player in the CCA Wattis Institute for Contemporary Art, Oxbow School and a number of other very significant visual art endeavors since 1973.
Excellent choice.
The 2006 ArtTable Visual Arts Award has been given to the generous and dedicated Ann Hatch... founder of Capp Street Project, and major player in the CCA Wattis Institute for Contemporary Art, Oxbow School and a number of other very significant visual art endeavors since 1973.
Excellent choice.
Tuesday, December 12, 2006
December 2006 Page 9
> PORTRAIT OF "TRAVELLER"
CSA General Robert E. Lee's personal and affectionate relationships with his horses (Richmond, Brown Roan, Ajax, Lucy Long and Traveller) is legendary. Following the war, an artist approached his daughter, Agnes, desiring to paint a portrait of "Traveller", the General's best-known cavalry mount.
Here is a portion of Lee's written description of Traveller (from a book by Ben Wynne, Florida State University), intended to assist the artist in rendering a portrait:
"If I were an artist like you I would draw a true picture of Traveller - representing his fine proportions, muscular figure, deep chest and short back, strong haunches, flat legs, small head, broad forehead, delicate ears, quick eye, small feet, and black mane and tail. Such a picture would inspire a poet, whose genius could then depict his worth and describe his endurance of toil, hunger, thirst, heat, cold, and the dangers and sufferings through which he passed... But I am no artist; I can only say he is a Confederate gray. I purchased him in the mountains of Virginia in the autumn of 1861, and he has been my patient follower ever since... You must know the comfort he is to me in my present retirement... You can, I am sure, from what I have said, paint his portrait."
CSA General Robert E. Lee's personal and affectionate relationships with his horses (Richmond, Brown Roan, Ajax, Lucy Long and Traveller) is legendary. Following the war, an artist approached his daughter, Agnes, desiring to paint a portrait of "Traveller", the General's best-known cavalry mount.
Here is a portion of Lee's written description of Traveller (from a book by Ben Wynne, Florida State University), intended to assist the artist in rendering a portrait:
"If I were an artist like you I would draw a true picture of Traveller - representing his fine proportions, muscular figure, deep chest and short back, strong haunches, flat legs, small head, broad forehead, delicate ears, quick eye, small feet, and black mane and tail. Such a picture would inspire a poet, whose genius could then depict his worth and describe his endurance of toil, hunger, thirst, heat, cold, and the dangers and sufferings through which he passed... But I am no artist; I can only say he is a Confederate gray. I purchased him in the mountains of Virginia in the autumn of 1861, and he has been my patient follower ever since... You must know the comfort he is to me in my present retirement... You can, I am sure, from what I have said, paint his portrait."
Monday, December 11, 2006
December 2006 Page 8
> ART, BY MARIU SUAREZ
"Art has always been an integral part of humanity's great quest for knowledge. The interchange of knowledge between artists and scientists has led to many of our most important advances. For example:
It was artists' zeal to perfect their craft that led to a better understanding of human anatomy. Masters of the human form, such as Michelangelo, broke social taboos and laws in order to study the human body through the dissection of corpses. Their anatomical research later became a vital part of medical knowledge.
Get your 2007 calendar of Mariu's artwork now! Visit Mariu's online store.
Geographers and map makers created mathematical grids to make accurate maps. Artists used that innovation to translate three dimensions into two dimensions.
It was painters who discovered the principles of optics while examining how the eye sees in order to better "trick" the eye with their images.
Around the beginning of 20th Century, another important interaction between the arts and science began. A medical doctor, Sigmund Freud, discovered the "psyche" or "soul," while trying to find the cause of his patients' unusual symptoms. Psyche is the Greek equivalent for Anima, the Latin word for soul. Both refer to something metaphysical–beyond the physical, invisible to our eyes.
In this way, Freud unwittingly rekindled an interest in the metaphysical realm, which science had shunned in its quest for knowledge. He then endeavored to study it in the same way the physical level had been: By applying reason. One of Freud's most prominent disciples, Dr. Carl Jung, further developed the field of psychology and the understanding of the psyche.
Freud and Jung began a whole new era for mankind by mapping the threefold constitution of man: the Spiritual, the psychic, and the material. They brought to the forefront the contents of the psyche as represented in ancient mythology and symbolism and taught us that the psyche can be understood through reason.
While Freud laid the scientific groundwork, Jung leaped forward in his exploration of how the unconscious reveals itself though symbols. In this respect, artists once again were needed to join the quest for knowledge. Jung himself painted and sculpted his dreams and visions so that he could better understand them.
Dissecting the Psyche
Jung's theory of the human psyche is that it is made up of three parts: the ego (conscious mind), the personal unconscious, and the collective unconscious. As C. George Boeree, Ph.D., explains it, the collective unconscious is "the reservoir of our experiences as a species, a kind of knowledge we are all born with. And yet we can never be directly conscious of it. It influences all of our experiences and behaviors, most especially the emotional ones, but we only know about it indirectly, by looking at those influences. The contents of the collective unconscious are called archetypes.
"An archetype is an unlearned tendency to experience things in a certain way. The archetype has no form of its own, but it acts as an 'organizing principle' on the things we see or do. The archetype is like a black hole in space: You only know it's there by how it draws matter and light to itself."
Self Discovery Through Art
For the purpose of personal analysis, Jung had talked about not judging the images of the subconscious, but simply accepting them as they came into consciousness so they could be analyzed. This was termed Automatism.
Artists were fascinated by the implications of these new psychological theories. They understood from them that the unconscious has important messages for the conscious mind, but the former communicates through images (symbols and archetypes) while the latter communicates through language.
Supraconsciousness, By Mariu Suarez, 62"x22", Oil and egg-tempera on canvas
Surrealist artists wanted their work to be a link between the abstract spiritual realities and the real forms of the material world. To them, the object stood as a metaphor for an inner reality. Through their craft, whether it be painting, sculpting or drawing, artists could bring the inner realities of the subconscious to the conscious mind, so that their meaning could be deciphered through analysis. Just as Michelangelo and Leonardo advanced the knowledge of the body's anatomy, surralist artists strive to chart the anatomy of the psyche.
Every individual can, as Jung did, use art to bring forward messages from his or her own personal unconscious. But the vital role of the artist is to help us all see the messages that emanate from the collective unconscious. As Carl Jung put it:
"Therein lies the social significance of art: It is constantly at work educating the spirit of the age, conjuring up the forms in which the age is more lacking. The unsatisfied yearning of the artist reaches back to the primordial image in the unconscious, which is best fitted to compensate the inadequacy and one-sidedness of the present. The artist seizes on this image and, in raising it from deepest unconsciousness, he brings it into relation with conscious values, thereby transforming it until it can be accepted by the minds of his contemporaries according to their powers."
"Art has always been an integral part of humanity's great quest for knowledge. The interchange of knowledge between artists and scientists has led to many of our most important advances. For example:
It was artists' zeal to perfect their craft that led to a better understanding of human anatomy. Masters of the human form, such as Michelangelo, broke social taboos and laws in order to study the human body through the dissection of corpses. Their anatomical research later became a vital part of medical knowledge.
Get your 2007 calendar of Mariu's artwork now! Visit Mariu's online store.
Geographers and map makers created mathematical grids to make accurate maps. Artists used that innovation to translate three dimensions into two dimensions.
It was painters who discovered the principles of optics while examining how the eye sees in order to better "trick" the eye with their images.
Around the beginning of 20th Century, another important interaction between the arts and science began. A medical doctor, Sigmund Freud, discovered the "psyche" or "soul," while trying to find the cause of his patients' unusual symptoms. Psyche is the Greek equivalent for Anima, the Latin word for soul. Both refer to something metaphysical–beyond the physical, invisible to our eyes.
In this way, Freud unwittingly rekindled an interest in the metaphysical realm, which science had shunned in its quest for knowledge. He then endeavored to study it in the same way the physical level had been: By applying reason. One of Freud's most prominent disciples, Dr. Carl Jung, further developed the field of psychology and the understanding of the psyche.
Freud and Jung began a whole new era for mankind by mapping the threefold constitution of man: the Spiritual, the psychic, and the material. They brought to the forefront the contents of the psyche as represented in ancient mythology and symbolism and taught us that the psyche can be understood through reason.
While Freud laid the scientific groundwork, Jung leaped forward in his exploration of how the unconscious reveals itself though symbols. In this respect, artists once again were needed to join the quest for knowledge. Jung himself painted and sculpted his dreams and visions so that he could better understand them.
Dissecting the Psyche
Jung's theory of the human psyche is that it is made up of three parts: the ego (conscious mind), the personal unconscious, and the collective unconscious. As C. George Boeree, Ph.D., explains it, the collective unconscious is "the reservoir of our experiences as a species, a kind of knowledge we are all born with. And yet we can never be directly conscious of it. It influences all of our experiences and behaviors, most especially the emotional ones, but we only know about it indirectly, by looking at those influences. The contents of the collective unconscious are called archetypes.
"An archetype is an unlearned tendency to experience things in a certain way. The archetype has no form of its own, but it acts as an 'organizing principle' on the things we see or do. The archetype is like a black hole in space: You only know it's there by how it draws matter and light to itself."
Self Discovery Through Art
For the purpose of personal analysis, Jung had talked about not judging the images of the subconscious, but simply accepting them as they came into consciousness so they could be analyzed. This was termed Automatism.
Artists were fascinated by the implications of these new psychological theories. They understood from them that the unconscious has important messages for the conscious mind, but the former communicates through images (symbols and archetypes) while the latter communicates through language.
Supraconsciousness, By Mariu Suarez, 62"x22", Oil and egg-tempera on canvas
Surrealist artists wanted their work to be a link between the abstract spiritual realities and the real forms of the material world. To them, the object stood as a metaphor for an inner reality. Through their craft, whether it be painting, sculpting or drawing, artists could bring the inner realities of the subconscious to the conscious mind, so that their meaning could be deciphered through analysis. Just as Michelangelo and Leonardo advanced the knowledge of the body's anatomy, surralist artists strive to chart the anatomy of the psyche.
Every individual can, as Jung did, use art to bring forward messages from his or her own personal unconscious. But the vital role of the artist is to help us all see the messages that emanate from the collective unconscious. As Carl Jung put it:
"Therein lies the social significance of art: It is constantly at work educating the spirit of the age, conjuring up the forms in which the age is more lacking. The unsatisfied yearning of the artist reaches back to the primordial image in the unconscious, which is best fitted to compensate the inadequacy and one-sidedness of the present. The artist seizes on this image and, in raising it from deepest unconsciousness, he brings it into relation with conscious values, thereby transforming it until it can be accepted by the minds of his contemporaries according to their powers."
Sunday, December 10, 2006
December 2006 Page 7
> ART SHOW ANONYMOUS
(From Jo Mueller at Spiva Art Center)
Several artists asked about Art Show Anonymous at the Foundry in Joplin next Friday. The exhibit it open to all who'd like to participate! "Art Show Anonymous" is an all ages, multi-medium art show designed to give artists exposure to the community and to utilize art as a means of creating a limitless, unified, and expressive environment. Jeff Youngblood, artist & weekend Spiva docent, will be there to represent Spiva. Stop by & say hello!
Info:
Maximum of 5 pieces per artist depending on size... No charge to enter work... The Foundry will retain 15% of artist's retail price on all artwork sold during the show... Forms (available by emailing christina@thebridgejoplin.com or donnie@thebridgejoplin.com, or by calling 417-206-6886) are due Monday December 11th!... Artwork to be delivered to the Foundry (at the Bridge, 3405 S. Hammons Blvd., Joplin) by December 14.
(From Jo Mueller at Spiva Art Center)
Several artists asked about Art Show Anonymous at the Foundry in Joplin next Friday. The exhibit it open to all who'd like to participate! "Art Show Anonymous" is an all ages, multi-medium art show designed to give artists exposure to the community and to utilize art as a means of creating a limitless, unified, and expressive environment. Jeff Youngblood, artist & weekend Spiva docent, will be there to represent Spiva. Stop by & say hello!
Info:
Maximum of 5 pieces per artist depending on size... No charge to enter work... The Foundry will retain 15% of artist's retail price on all artwork sold during the show... Forms (available by emailing christina@thebridgejoplin.com or donnie@thebridgejoplin.com, or by calling 417-206-6886) are due Monday December 11th!... Artwork to be delivered to the Foundry (at the Bridge, 3405 S. Hammons Blvd., Joplin) by December 14.
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