Tag Archives: Drawing

This Business of being an Artist

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mixed media process montageThere’s been an interesting, if hardly new, thread of conversation taking place in one iteration via LinkedIn, where a Mr. Duane Bronson posed the eternal question thus: “Does an artist have to have a recognizable ‘STYLE’ or a cohesive body of work to be of interest to a gallery and marketable?” My short answer would be a resounding Yes, but I couldn’t resist expanding on what is for me a perpetual problem. I said:

A good, thought-provoking read here! I have experienced much of what is discussed by the various commenters who precede me and think that all have some valid points for our consideration. My own answer to Mr. Bronson’s original question is that I might state it a little differently: ‘to be of interest to a gallery as what it/they would consider marketable‘. Anything is marketable, if you put the right seller and buyer together under the right circumstances, but galleries, no matter how much they might pride themselves on being ‘in it for the love of art’, are businesses, and (logically enough) are not particularly interested in anything they don’t think is a relatively easy sell. [Commenters] Messrs. Bruland and Moore are absolutely right in recognizing that art does sell–at the confluence of the right forces. Figuring out what those are and how to orchestrate their intersection is the big magic trick that few of us can perform.photo of mural [with artist]I was approached by gallery owners when I was finishing my undergraduate art degree; one of them (the more successful in business, not surprisingly) met with me mainly to encourage me to produce a larger body of the same kind of work so that he could later represent me; the other, being a fledgling in the business, was willing to take what little I had already produced at my young age and give it a go. Of course I was inexperienced and had no concrete plans or prospects, so I opted for the latter, with the predictable result that that gallerist, with such limited experience and connections, was too busy simply trying to work out the logistics of her own business to actually represent any of the artists she hoped to promote. Thankfully, I’d only agreed to half the proposed trial period as part of that ‘stable’ of artists and retrieved my entirely unsold (and as far as I could ascertain, also virtually unseen) work and go forward at the end of it. [And only a year or two before it was also the end of that particular gallery, as far as I could ascertain.]photoIt wasn’t until many years later, after working in construction for a few years to save up for grad school (I suspect I’m of the same vintage as Ms. Senn, having had many similar experiences 30 years ago in that field of work) and then going through the grad program and then teaching for a couple of decades, that I could afford the luxury of devoting real time to focused practice and larger productivity of my own artwork. Along the way, however, I had continued to produce smaller quantities of work. As I’m quite sure many of the artists commenting above have experienced, what pleases me most in my own practice is to do what inspires me at the moment, to experiment, and to follow the serendipitous occurrences that happen along the way, resulting in a recognizable character in the works but not a whole lot of terribly similar subjects, media, and techniques. So I, too, have been told by many a gallerist that he or she thinks my work is terrific but, no thank you, they don’t see how they can possibly ‘package’ and market me.digital collageThe upshot of all this is that I can only echo what others have already said or intimated here: keep doing and being what is right for you, but know that you’ll likely continue to labor in obscurity unless you simply find that combination of luck and resources and persistence coming into perfect confluence. I must assume that all of us are here because making art of whatever sort matters enough that we will do it endlessly, whether it profits us in any way other than inwardly or not. Hurray to being successful, financially of course if we can, but if not that, then as wildly successful in satisfying the artistic urge as we can manage to be.I will add to this that I am no more going to stop making art because I don’t come close to making a living at it than any of the millions of others who can’t ‘get by’ doing what they love best would quit their passions. You might, just possibly, have noticed that I’ve been hanging out here in the blogosphere for some time just churning out art of the visual and written kinds and handing them out daily like free candy. But like many others, I also keep the business side of art on my radar, looking around me to see if there are any connections and opportunities I have overlooked or ways to introduce my work to others who may find something in it that speaks to them as well and (miraculously!) be willing to pay me for it. I guess this is simply my love letter to any other unsung heroes reading this, saying that we’re all in this together and yes indeed, also that I have no plans to leave off pursuing my dreams any more than you have. Might see you at the bar later, though. Everybody needs an outlet, whether it’s on LinkedIn or in the studio or somewhere else entirely. Cheers!graphite drawing

Dear Me! What was I Thinking When I Wrote That Thing?

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graphite drawingHere Lies a Loon

Once upon a tombstone

I read an epitaph

whose sentiments ridiculous

were prone to make me laugh;

the information set thereon

gave me to ridicule

the marker and the makings of

some great exquisite fool;

now lest you think me callous and

a soulless Frankenstein,

you ought to know the coup de grâce:

the epitaph was mine.

Mysterious Phenomena & Exotic Doings

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graphite drawing

It’s hard to know what to make of such goings-on . . .

Sharp Objects Falling out of the Sky

On certain Wednesday mornings

Sharp objects from the sky

Come shearing down the sides of clouds

Like spaceships zipping by

And boulders, ashtrays, cutlery

And great meteorites

Come slashing from the heavens

—But clear up by Wednesday nights

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. . . but I’ve come to expect the unexpected . . .

Just Another Tall Tale

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I May be Texan 2

I never thought to come to Texas, even for a visit,

But serendipity is not predictable, now, is it?

And if I might not so have planned—don’t have a longhorn cow—

Turns out it was a fine surprise to land here anyhow.

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Does this make me a second-hand cowhand?

Money, Mayhem, Madness

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Someday I will retire. Ah, but how does one retire when one hasn’t been employed for pay outside of one’s home for a longish time, eh? How, to be more to the point, does one retire when one hasn’t been productive or purposeful or a contributing member of society?graphite drawingThe very idea is preposterous. Crazy, really. But let’s be clear here: I wasn’t really that impressive and significant a member of the workforce when I was under contract to my various outside employers. Heck, some of them might conceivably have wished to put out a contract on me. But I digress. The thing is that this idea of retirement stems not entirely from my personal lack of a job-related work ethic (a.k.a. lazypantsitude) nor even, strictly speaking, from the retirement-contemplation infection I may or may not have caught from any of those near and dear to me, who may or may not include close friends and family members–it’s simply that Issue that so many people begin to contemplate with a bit of trepidation nowadays when the world of personal finance is so volatile and the future as unpredictable as it could possibly seem. It’s the persistent and slightly frightening specter of what will become of me, of any of us, when we opt out of the workaday world entirely and attempt to live a post-employment life. Retirement, as (or if) experienced nowadays, is a mighty scary mistress, sweet as sticky toffee pudding one minute and in the very next one, raving like a latecomer to the sale at Filene’s Basement.graphite drawingYou will not be the least bit surprised that, no matter how modest and unconventional my work life has been, I am enamored enough of non-work-related occupations to desire the life of a retiree if (and when) I can lay my hands on it. So I consider, now, what it will really require in the way of planning and saving and earning and arranging between now and that magical date, whenever it may be, and am plotting a course through the intervening period that I hope will set me and my beloved up as well as can be for that eventuality. If any billionaires should happen to be reading this and simply itching to offload some of their excess samoleans into my personal coffers, of course I am willing to shoulder that happy responsibility. If anyone should be looking for some fantastic artworks to purchase for home, office, gift or birdcage-liner, I have stacks of material available for the buying. But I suspect it will take some other, further, additional and/or different approaches to actually put me in a reasonable position to retire.graphite drawingDon’t mind me, in the meantime, wigging out just a mite over the whole process. It’s how I handle mysteries and challenges. And yes, I am very well aware that worry about such a thing as retirement is entirely a rich person’s problem and thus not exactly worthy of much sympathy.  Still, I do fuss over it a bit. Since I don’t have regular skills that have kept me gainfully employed (and even when I was employed, it was mostly in academia and selling art, so you can guess how gainful that all was), I shall just have to take my own tack, no matter how tangential it is to the norm. That is definitely how I tend to operate, and I can’t imagine that my life as a retiree will be any different in that regard.

 

Romance is Complicated

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graphite drawing

The heart is a tough nut to crack!

Cynics All (Turnabout is Fair Play)
He knew the patter well; he said his lines
Like memorizing store-bought valentines
Meant to purloin a schoolgirl’s stony heart,
But his intent was different from the start,
Because the walls he’d breach were harder stone
Than made by schoolgirl innocence alone,
Were built of granite mortared all with lies
Told earlier by men who’d fantasize
That such a flimsy imitation love
Could be the trinket she’d be greedy of
Accepting, that she’d bend to such poor jewels,
But she’d built fortresses against the fools–
So he, like all his predecessors, fell
Because she knew the patter all too well–
Until at last there came the honest man
Who spoke the truth;
She took his heart and ran.

 

Drawing on Your Beginner’s Luck

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The nice blogger from Zara–A Writing Story stopped by recently and her post said she is working at starting to draw. I’m delighted to have another person join the ranks of happy visual artists via drawing–a collection of skills that come in quite handy (no pun intended, especially since there are artists who use their mouths or their feet to make artworks) for far more than strictly a pleasurable activity or visual entertainment. Drawing, a foundational skill in all sorts of visual art, is also a means of communication that differs from and can work in wonderful tandem with writing, singing, signing, and any number of other ways of personal interaction and transmission of information. In addition to the practical application of the end product of the process, the practice of drawing itself has great power as a mnemonic device, a tool for problem-solving, and the training of the brain in such useful skills as eye-hand coordination and (as I know from experience) the correlated motor control of working through tremors to achieve refined movements.

But beyond that, as I said to my blogger colleague, the act of drawing has elements of physical pleasure in the mere action of arm and hand and body that can be worth the pursuit, not to mention the mental and/or emotional pleasures possible. The act of drawing as a form of meditation, even without regard to any possible ‘product’, is quite desirable on its own.

As I said to my correspondent, she needn’t be intimidated in the least even if she’s a rank beginner: By even making the effort to learn, you’re worlds ahead of lots of others! A book I often referenced when teaching my beginner students in college was Betty Edwards’ classic Drawing on the Right Side of the Brain–it has exercises that aren’t too hard even for someone who’s never attempted to draw before, and because her focus is on how the brain works in visual activity, she offers insights into the process and possibilities that few others do. There are, of course, innumerable excellent how-to books for those who want to draw, many of them favorites of mine as well, but because of Dr. Edwards’ [then] ground-breaking work in recognizing the character of right-vs-left brain function and how it played out in drawing, I always found her work particularly helpful.

Because drawing can engage so many diverse cognitive processes like this, it can be complicated and overwhelming to know just where to start learning how to draw. As I remarked in my note to my fellow blogger, All of that aside, simply making marks on a surface is the beginning of drawing. Sometimes the least intimidating way to begin is to take a piece of paper, make some totally random marks on it, and then see where that takes you. Even if all it does is make you comfortable making the arm movements for a start, that’s helpful. If, as with most people, you look at it and think ‘that looks like . . . ‘ or ‘that doesn’t look quite right . . . ‘–well, then, you’re already making editorial decisions that can help you move toward drawing the way you want to draw.

The bottom line, if you will, for me is that I feel more alert, more attuned to potential solutions when everyday problems arise, and generally just plain happier when I draw. It’s not because every drawing turns into something fabulous–far from it–but because the process of drawing opens up my brain and spirits in useful and unexpected ways. Many times, my drawing produces nothing more than scratches that are shorthand for bigger and more complex and, I hope, better things to come. But the exercise itself is valuable to me, and a glance back through my sketches can often kick-start me into drawing a work that is more successful than the twenty previous ones.

line drawing

Exploring pattern in a sketch.

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Playing around with volume.

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Faces and flowers show up often in my sketchbooks.

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Hands can be pesky subjects, so I play with sketches of them frequently too.

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Any little vignette that pops into my mind is worth scribbling at least a few times.

Ultimately, whether I’m in gear for serious drawing or just fiddling with a pen or pencil to pass the time, it’s good practice and feels worthwhile. If nothing else happens, at least I have given my brain some thinking-room between the lines and I might figure out what to make for supper, how to cut through the piece of metal that is in the way of my completing a repair in the garage, or who knows–I might even remember where I set down that book I was reading days ago before it ‘disappeared’. It’s doubtful I’ll come up with any Nobel Prize-worthy inspirations while drawing, but then again, if I don’t draw, I’ll never find out!

The Cloche Wins in the Clutch

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There mightn’t be any reason to connect the hat known as the cloche with the bell for which it’s named, given the resemblance of their shapes. The similarity may end there.graphite drawing Unless you want to make a silly cheap pun and say that the hat kind of rings a bell for some reason.

More productive, probably, to just work on drawing curves by sketching a figure wearing a cloche and simply exaggerating the resemblance a little bit more by simplifying the shapes to an extreme. Whether it’s quite characteristic of my style of drawing or not, it might be that I tend to like drawing curvy forms just because the arm and hand action that creates them is comfortable and pleasing to me when I draw.

The long and the short of it is that practice may make me better at drawing, but it also makes me happy as an activity in itself and for its own sake, and drawing curved forms feels pleasant and encourages me to draw more. And that, if I’m in the mood to draw curved forms, why then, drawing a cloche hat is a handy way to get into the process.

Shallow, I know. What do you expect from a person who makes cheesy puns in public and draws in a particular style merely because it feels nice!

 

The Center of Attention

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When I am making artworks I am the ruler of all I survey. I get to invent my reality and decide how much of it I want to reveal to you, and even (to a certain extent) how I want you to experience this particular reality. I do know that you will bring your own point of view and that my art, this Empress having invented it or not, will tell you a story that exists in its own unique way within your personal context.graphite drawingHowever, like all storytellers visual or otherwise, I still control how much I’m willing to reveal to you of the whole project in the end. Do I give you the ‘whole story’ or choose to share a scene, a snippet, and then let you extrapolate from that to decide what the storyline is in the image, not to mention all of the possible storylines extending beyond the image in every direction? I choose the window; you interpret what you see through it.

In the case of this drawing of a lady with her fat pony, I’d say that a cropped version of the picture gives plenty of information about both characters and their relationship but mercifully deletes some of the evidence of my horribly sloppy parody of equine physiology, something that’s far more painfully exposed in the larger version of the piece. Yes, there I go, showing you my ‘underwear’ again. But don’t you agree that the image is improved, its focus stronger and its flaws somewhat mitigated, by the cropping?

graphite drawingUltimately, of course, I’m still Empress around here. I get to choose whether I’ll show you my process and share my behind-the-scenes action like this, let alone whether an image is finished or not, whether I’m going to use it for a post or not, and whether I’m going to tell a whole large story or a tiny bit of one. It’s good to be the Empress.

If You can’t Say Anything Nice, Why Not . . .

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We love to gossip and tell tales behind each other’s backs, don’t we. Of course, the public attitude is generally to decry such inhumane and ungracious behavior and to vilify those who allow themselves to be caught acting on it. Even those of us who shamelessly mock others for being unlike us don’t really like to admit we engage in such naughtiness. In fact, many of us are quite adept at picking on people for being precisely like we are and doing exactly the same sort of, well, picking.

It may just be that we need to reevaluate the whole way we approach such things. Being in conversation and community doesn’t mean we have to spend our energies on acting like those stereotypical meddlers we like to decry, which is of course precisely what we’re doing in decrying them. How much better to spend our energies and attentions together on positive and good things, like finding common ground, sharing what we admire and respect about each other and learning fine and meaningful and joyful things from and with each other. That leaves little room for interfering with other people’s ways of doing, being and living. We can sit around chattering and nattering with impunity when the intent is to be kind and thoughtful, and without worry when we’re not creating any sort of reasons for anyone else to be critiquing us either.

Improbable as it all may seem, we all know from experience that there are good and happy and positive things to be discussed and done and that there can be just as much pleasure in them as in exercising our Schadenfreude instead.graphite drawing