June brought two great-story sales. The first was of this piece, a favorite of mine since I did it a few years back. My husband delivered it to Louisa Gould Gallery on Martha’s Vineyard in early June and a few days later it was headed to Madrid on a private jet. The collector even helped unwrap it after being drawn into the gallery by my 50″x90″ piece in the window.
This octych has received a great deal of attention, including a blog post of its own. It was shown and appreciated at Gold Gallery in Boston, and then at Albert Shahinian Fine Art in Rhinebeck this past winter.
In May I was contacted by a woman in NC who told me that she wanted to buy it, and had the perfect spot for it. She had read the blog post and loved the story. She had never bought original art before, except for one print. She found me through a google search.
After much back and forth, it turned out that she had seen the price on the small oil-on-paper study that I had done leading up to the final piece, and the actual cost was way beyond what she had anticipated or budgeted for. So I offered her some other, smaller pieces in the green palette that she prefers…and then didn’t hear back from her for a few weeks.
This happens with some frequency. For a discussion of why original art created by a career artist costs what it does, you can read this blog post:
In the end, she could not resist the piece and I could not resist making a price accommodation to enable her to have it, though it was still a huge leap for her both in cost and in faith, as she hadn’t set eyes on the actual piece.
My galleriest Albert Shahinian, who had the piece and is also an expert art handler, did the packing and shipping, and here is Green Waves in its perfect spot:
My Atlas Project is gaining momentum and focus. I earlier began a description of the evolution of this endeavor and got so carried away that I found I needed a separate post, which I will be working on going forward.
In brief, motivated last fall by a number of factors including an upcoming residency on Nantucket and my fears over an acceleration of climate change with the new administration in Washington, I decided I needed to marry more concretely my deep love of the outdoor world and its complexities with my visual expression.
The third and most complex grouping, Atlas/Hudson River Valley had a trial run during a recent studio tour/open studio. Each site map circles closer to what I want, this most recent one being a collaged road map with map pins showing the locations of the paintings in the grouping and monotype thumbnails of the same. Like the earlier versions, this folds up into a small map.
I ran out of time—this was an excruciatingly slow process, with many design elements and much trial and error—and didn’t get any of the written piece figured out, but in discussion during the open studio I figured out how to approach this in a way that has integrity with the map.
This will all coalesce into a large solo show at Thompson Giroux Gallery in Chatham, NY, March 31-May 6 in 2018, of Atlas/Hudson river Valley and Atlas/Forms of Water. There will be many more paintings and therefore more thumbnails on the map; most likely an off-center extension at top right to show the source of the river in the Adirondacks; and a narrow extension the length of the left side to add written and visual detail about our area. The show will feature monotypes, collages, and pastels as well as oil paintings.
The Studio Tour overall was a sweet weekend with folks from my mailing list coming through as well as those who were new to me. Usually it is a low-pressure event for me and I have a lovely time at the outset setting up my studio for viewing. I had knocked myself out working on the Site Map and printing linocut wall tags for the Atlas Project this time around, but it was well worth it for how the deadline brought the project together enough for me to hone many aspects and trouble-shoot the things that are not yet quite right.
The day after the Studio Tour ended I was off for a week to teach on Nantucket. So lovely to see the island wearing its summer color, after spending two weeks there in February! I taught my composition workshop, Constructing/Deconstructing the Landscape, to a receptive and able group of six. These are the exercises that they had finished at the end of day #2.
For demo purposes I did several small oil-on-paper pieces, choosing subject matter according to the requests of my students:
After my workshop was over I spent a long afternoon in the print shop, rediscovering what works for my imagery in monotype (there are always a row of failures before some successes). This is my favorite of the batch:
In June I had a discussion with some of the artists who I mentor about curating a show of their artwork, and got a very positive response. I contacted what I thought would be the perfect venue for a show of such an eclectic group of artists, the ArtBar in Kingston. The only slot Allie had open in 2017 was for August, so this exhibition of 18 artists had to come together very quickly!
It was interesting switching hats back and forth from mentor to curator, and there will be follow-up in my groups on my experience with the artists as curator. I have heard repeatedly from gallery owners that it is their quality-of-life choice to represent talented artists who are also easy and responsive to work with, so this is a theme that I pass along.
I selected the work and Allie, who owns the venue, hung the show. The opening reception was busy and the the comments very enthusiastic. The list of all of the artists involved: Polly Law, Sandra Nystrom, Rebecca Darlington, Linda Lynton, Linda Puiatti, Al Desetta, Betsy Jacaruso, Patti Gibbons, Lois Linet, Stacie Flint, Elizabeth Panzer, Dave Channon, Karen Schaffel, Julia Santos Solomen, Mary Katz, Loel Barr, Mark Loete, Cathy Metitchecchia.
This is my short description of the work I have done with these, and many other, artists over the years:
My mentoring work began as a way of helping other artists enter or expand their presence in the art market by providing support for both studio practice and exhibiting. The groups are a blend of coaching, support group, and targeted career advice for emerging and mid-level artists.
An article, written by Lynn Woods, will be coming out shortly on the show in the Kingston Times and I will add the link.
Coming up, very soon, this four-person show at the Nantucket Artists Association, a brainchild of Program Coordinator Mary Emery: Due East, 4 Woodstock Artists on Nantucket, featuring the work of Polly Law, Kate McGloughlin, Jenny Nelson, and myself; all artists who teach and/or have done residencies at the AAN. Dates are September 1-22.
A medium-sized oil-on-linen that will be featured in the show:
Recently finished, my second Atlas/Hudson River Valley mixed-media/collage:
And in oil, an image of the tide coming in over the tidal flats mid-Cape, always a moment of bliss for me:
This piece fits into the Atlas/Forms of Water segment. It is a different type of category from Atlas/Hudson River Valley, and there will be overlap, making for a more dynamic installation.
A few of my other sales so far this season:
Upcoming workshops are at the PAAM September 11-14, the loveliest time of the year to be on the Cape:
And the Woodstock School of Art October 28-30, also a stunning time of year for the locale:
Enjoy your rest of summer season and beginning of fall!
August 16, 2017 | Categories: Uncategorized | Tags: Al Desetta, Albert Shahinian Fine Art, art collecting, ArtBar Kingston, Artist's Association of Nantucket, Atlas Project, atmospheric landscapes, Betsy Jacaruso, Cape Cod paintings, career artist, Cathy Metitchecchia., Catskill Mountain paintings, coaching for artists, collage, color field, composition, curating shows, Dave Channon, Elizabeth Panzer, Fall Fields, Hudson River paintings, Julia Santos Solomen, Julie Heller Gallery, Karen Schaffel, large landscape paintings, Linda Lynton, Linda Puiatti, Loel Barr, Lois Linet, Louisa Gould Gallery, mapping, Mark Loete, marsh paintings, Martha's Vineyard paintings, Mary Katz, mentoring artists, minimalist landscapes, mixed media, moody landscape, Mountain paintings, multiple-panel landscapes, oil painting, Palm Trees, Patti Gibbons, Polly Law, Provincetown Artists Association, Rebecca Darlington, Sandra Nystrom, seascapes, Stacie Flint, sunsets, teaching, vertical landscapes, Wave paintings, weather, Woodstock School of Art, workshops | 3 Comments
How do we do it?
I have been working exclusively with landscape imagery since 1990, and painting full time since about 2004. I like nothing better than to be in my studio working, and since I have multiple galleries that all need work, that means a good number of landscape paintings over the course of the years.
So how do I keep it fresh, avoid being bored (which would surely show up in the work), not fall into painting the same painting over and over again?
This is a big question for artists who have a market for their work. Some do just that—paint the same thing, essentially, for decades on end, though realists and plein air painters often have a great love for minute changes in subject matter and locale and keep themselves happy and entertained with these shifts. No judgement here from me–the happy or engrossed artist is the key to good work.
We have all seen artists in the blue chip realm who disappoint with a new body of work (will Susan Rothenberg ever be able to delight me as much as she did with the early horse series?) And yet, the custom of many decades now is for an artist to work serially, ideally moving gracefully and yet compelingly from one body of work to another, maybe over the course of a few years (and often marked by the solo at their major gallery, when it is assumed that that work will leave their studio and never come back, making it easy to start a fresh series). Preferably, from the market standpoint, there is some stylistic or thematic continuity from one series to the next.
I found my true niche with my minimalist mode of landscape painting back in 1990, and a few years later felt a need for opening up my explorations. I addressed it then by expanding the range of my subject matter and palette. Initially, I had avoided anything overtly dramatic, keeping to tonalist color and flat light, and the first shift brought me into a complex sky, or a brighter, blue-sky day.
(The photos in this post may be more current examples, since I have not even begun to get all of my pre-digital slides and photos scanned.)
As the years passed and I felt ever more firmly in the saddle of my approach, I dared take on subject matter that borders on the cliche for a landscape painter—sunsets, a beach path, fluffy white clouds, even a sailboat at rest. I enjoyed the challenge of painting these subjects while avoiding the melodramatic or sentimental, at first by aided by instinct and later with a clearer understanding—which I now teach—of how this can be achieved.
I also played with format. The first time I did a vertical landscape I had never actually seen it done, and I found it quite daring. Later, I explored extreme verticals, as well as horizontals.
The next time I felt restless, I still thought of subject matter, now manmade elements. I started with phone poles, and moved on to urban images, road imagery, and then grittier industrial imagery. In 2003 I had a show at Albert Shahinian Fine Art, then in Poughkeepsie, called “Manmade”.
A few years later, I pondered how to get my love for the grid into my work (bearing in mind that my background is in contemporary, not traditional, art). On first glance, it seemed that there were only a few ways to incorpoarate this with landscape imagery. But I decided to just get started doing these first ideas, and eventually it became clear that there were many ways to bring the landscape and the grid together.
Somewhere around 2002, once again contemplating my next move, I began to use vintage boxes and other distressed objects as my support, selecting imagery and palette to mesh with the elements already present in the object.
This series sometimes requires applied problem-solving in to addition visual/aesthetic decision making, and I enjoy the stretch of the brain.
Many of these pieces have been set in lovely old compartmentalized boxes, trays, or pans, which means that they also explore multiple-panel imagery.
“Mountain Fall in 6, 5″x18” (courtesy Albert Shahinian Fine Art). This appears to be an old coin drawer from a cash register. At first I thought of putting small panels within the compartments, but that obscured the lovely curve at the back. Finally, I created flexible pieces of backed linen that follow the curve. I had to take them in and out a number of times while I was painting them, since being set back changed the light and therefore the color substantially.
When I was preparing to do my Cyclone Sampler, I spent a great deal of time just figuring out what I was going to paint on before nestling the tiny panels into the compartments of the box (I settled on bevel-cut 8-ply matboard—bless my framer—that I sealed front and back with multiple coats of matte medium, since I did not want to put glass over this piece). A spontaneous decision at the end, purely aesthetic, was to leave a few compartments empty, avoiding the feel of a catalogue.
This series has as many possibilities as the amazing things that I come across that fire my imagination, though I often have to stare at the object for up to a year before I decide what I want to do with it.
Generally the imagery that works best with the frayed edges and gridding in the Affinity Series is either very minimalist or has strong linear elements.
That I ended up with graphite gridding as an overlay was a circle-back to my longstanding interest in the grid, bringing the viewer’s eye to the surface of the piece and creating mixed associations. Some of the latter I hadn’t even thought of, like the historical use of gridding to aid with proportions while transferring a small image, or maquette, into the larger finished piece, an association that other artists have pointed out to me.
Many pieces now are some combination of these series. For example, often the frayed linen on board of the Affinity series works well in an old box.
All the while, I have continued to paint my wide-open landscapes on linen. Doing all these other explorations makes a small new slant on a salt marsh or hillside painting feel exciting and fresh, even though I have been painting this imagery for 24 years.
I love expanding the repertoire, adding both new versions within a body of work that reflects longstanding interests and, every so often, a whole new series. In my week-to-week, month-to-month, I juggle these series simultaneously, rather than consecutively, keeping myself riveted to what is developing in my studio.
The constant is the landscape.
What is next? (I have several ideas just taking shape, so not sharing yet!)
March 20, 2014 | Categories: Uncategorized | Tags: Albert Shahinian Fine Art, atmospheric landscapes, career artist, Chace-Randall Gallery, Choose from the most used tags Albert Shahinian Fine Art art art collecting Asher Nieman Gallery atmospheric landscapes Barneche Designs Cape Cod paintings Catskills Chichester christie scheele color , cranberry bog, creating new bodies of work, Gold Gallery Boston, headlights, industrial landscapes, innovation, lonely road, manmade elements in the landscape, minimalist landscape, mixed media, new series, new work, oil painting, painting series, paintings in vintage boxes, phone poles, road at night, road paintings, sunsets, the grid in painting, unusual landscapes, vertical landscapes, winter road, Woodstock Scool of art Julie Heller Gallery, workshops | 2 Comments