“The reek of human blood smiles out at me” Aeschylus
A recent call for submissions put forward by Propeller Gallery in Toronto asked artists to contemplate the colour red. Timed to open on Valentine’s Day the show, titled “Red Impulse” (February 14 – March 4, 2018), left the door wide open for interpretation, the call for submission noting that red could be… “…crimson, vermilion and scarlet, the colour of extremes, communism, liberalism, powerful, violent and bloody, love and passion, fast, STOP, sweet, hot and spicy, bold, bashful, the SUN, cautious and above all…impulse”. In this blog I’m taking an inventory of sorts – a walk through the reds of memory lane.
I have always equated intense oranges and reds with the paintings of Francis Bacon and the ability of his work to act “…directly [upon] the nervous system”, to “open up the valves of sensation”. Red activates, stimulates, is a diving board. Painting happens mid-air.
Red can be sinister or macabre, alluding to events that have never happened. Or might.
Red can float, be vaporous, toxic and tremulous. Red can discharge.
Red can signal, exclaim, pronounce and pounce. Red can pull us off course.
Red can dazzle, dance, trick. Red can lure, vanish and sneak up behind us.
Red can be adjacent, sitting next to bone, skin and scrapes.
Red can be political, isolating, terse and playful.
Red can be remote, automatic, whirring and mindless. Red can be a button.
Both War Machine 3 and 4 above are currently available and are framed. You can see more of my work HERE.
You can find out more about Propeller Gallery’s RED IMPULSE show in Toronto, February 14 – March 4, 2018, HERE.
OPENING RECEPTION at Propeller Gallery is Thursday, February 15th, 6:30-9:30.
War Machine 4, above, will be on exhibit as part of the RED IMPULSE group show at Propeller Gallery so please drop by and see this painting as well as the diverse takes on this stimulating theme by an incredibly accomplished group of artists. The Drake Hotel is nearby as are many other Queen Street West venues so you can make a night of it.
On a recent trip to NYC we stopped in at Berry Campbell on West 24th, to see the Syd Solomon (1917-2004) exhibition – which was the highlight of my very limited time in Chelsea. An abstract expressionist, his work involves and energizes space.
The paintings are perpetually sensuous and enigmatic – full of life, colour and questions. His paintings lingered in my mind – I loved their chunky organic vibrancy. See more of his work here on the Berry Campbell website: https://www.berrycampbell.com/
And I would be remiss if I didn’t let you know that Syd’s work is rumoured to be shown this fall at Guild Hall, East Hampton. You can check in on Guild Hall’s listings as they arise here: http://www.guildhall.org/
Thank you Syd Solomon, I wish I could have met you!
As with much of my work exposure to other artists, writers (at this moment critic Jerry Saltz comes to mind as does academic Arden Reed who recently wrote about “Slow Art”) theorists and curators plays a role in shaping future work. So I wasn’t surprised when Syd’s bold work began sifting through my brain, which is always, coincidentally, populated with ecocentric thoughts: Where are we going? What’s happening to the planet? How do artists and designers communicate ideas related to anthropogenic change and planetary fate?
The “cause” of charismatic painting would have us believe that nature, for the most part, exists in a perpetually unblemished state. Of course, in reality, anthropogenic disturbance has cast a pall over all of our planet’s ecosystems. Nature is not unhinged and separate but connected and affected.
Ecological art may be distinguished, in part, by its “ethic” – it’s trying to affirm a form of conduct that would have us behave in ways that do not harm the planet. How should such art inform? By capturing beauty? Or through direct reference to the threats we cause? Perhaps it is both. But can we live with art that hints at our future nostalgia?
How many of us have beautiful distractions on our walls – and is this enough?
Here, in this painting, the shadow of urbanity casts its long shadow on a distant coral reef.
The diptych, when the two images are put together, looks like this:
Please feel free to get in touch or share your thoughts.
In the wake of current events such as the Harvey Weinstein debacle and the #metoo campaign I catch myself thinking about the progress that needs to be made. And as an artist I wonder – what is the role of art? To ensure the equal representation of women and all “others” as administrators and creators of art but also to provide – to guarantee – a setting free from prejudice, threat and harrassment. And what of artworks themselves – what are they saying?
In sports, many aspects of “maleness” are underpinned by “femaleness”. Some men acknowledge these underpinnings while others eschew them. I find it hard to ignore femininity in a world of spandex, padding, cups, straps, clips and girdles. In and of themselves these design “elements” are “neutral” – materials, shapes, degrees of rigidity, support, protection and wicking. Historically, these neutral design elements have been sexualized when it comes to men thinking about of women. However, it is anathema to most men to think of them as erotic when applied to other males, especially in the locker room. In the gay world all these suspensory elements are celebrated – exploited as “hyper-male”. Many a well-swung gay fantasy has rotated around the fulcrum of a jock strap.
How is it that we fetishize in both positive and negative ways inert elements attached to human bodies? Here, in this piece, the strange attractor of flower, as pansy, draws the inquisitive bee of attraction in, offers its stigma, styles and ovaries. And releases the bee to rejoin its community.
In the male sports world I wonder if misogyny, homophobia, transphobia and the failure of men to accept “feminine” attributes contributes to violence against others and shaming of the self. This art asks men to question their relationships with their “self” and the “feminine” in the arena of sport. This art invites men to comment – but they rarely ever do. This art invites men to consider the constraints they offer to their partners, their children, their communities when they see the world as narrowly defined. This art asks men to accept femininity, to revel in it, to champion it all of the petals that make up this flower. This art invites women to send it to men they know and ask them what they think of it.
How would men respond to a world where art invited them to be more open minded? These pansies are comprised of jock strap cups and hockey girdle straps and clips. A pair, in black and white, would look great above your bed or in your living room where guests might comment. Erotic art that honours the continuum, not just the poles. Can anyone have a convincing and comprehensive strength if they cannot accept and appreciate the full spectrum of gender expression, of masculine and feminine, of weak and strong?
A gift of flowers is always appropriate, I offer these pansies to jocks and invite you to offer them too, in any form of your making.
I was so very pleased that “Pansy For Jocks 1” was selected by jury to auctioned off on March 30, 2017, in support of the Aids Committee of Toronto. You can read about ACT and the amazing work they do here: http://www.actoronto.org/.
“Pansy for Jocks 3” will be auctioned off on March 22, 2018 for the same amazing ACT-SNAP event! This work was awarded one of 5 prestigious Awards of Merit by the Jury, who reviewed the works anonymously. The prize includes $500 and a ticket to the Gala Auction evening. The jury for 2018 included:
Cheryl Powers – Photographic Artist (Chair)
Chantal Stepa – Co-Chair
Jeannie Baxter – Managing Director, Toronto Image Works
Aidan Cowling – Photographic Artist and Head of Communications & Development, Gallery 44
Erika DeFreitas – Multidisciplinary Artist
Kevin Kelly – Commercial and Art Photographer
Patrick Lightheart – Designer and Artist
SNAP! 2018 is a Contemporary Photo Competition. A juried competition for all photographers, there are cash prizes for top entries. Selected images will be included in the SNAP! 2018 silent auction, part of Toronto’s most exciting gala celebrating contemporary art photography. This year’s gala takes place March 22, 2018, at the Bram + Bluma Appel Salon at the Metro Toronto Reference LIbrary, you can read about this venue here: http://salonrentals.torontopubliclibrary.ca/about-the-refe…/
There is a PREVIEW night for the Curatorial Collection of photorgaphs as well as those photorgaphs receivign Awards of Merit. The preview runs March 8, 9, 10, at Robert Birch Gallery in Toronto, more info here: http://birchcontemporary.com/
Please share this post if you have a moment to support this critical agency. ACT provides support services that empower men, women and young people living with HIV to achieve self-determination, informed decision-making, independence, and overall well-being. ACT does this through programs such as counselling, information provision, social support activities and programs that help people with HIV return to work.
A SERIES OF GENTLE SHARK ATTACKS (U.S. Election 2016)
A Series Of Gentle Shark Attacks (Nov. 13, 2016)
acrylic on wood panel
10 x 10″
I like to alternate more “serious” work with drawing and painting “exercises” that keep me limber and light. And, as with most of my work, I don’t always know where the art is headed. Painting is an act of bringing into being, of invention; a combination of intention, randomness and explicitness, accidents and purpose. Sometimes a single stroke of the brush is enough to make a painting depart in a entirely new direction. It is usually in retrospect, occasionally days, often months later, that intention and meaning come to the surface. And in the tradition of surprises in the process of “art-making” there can be reversals and revisions; light things can become heavy, slow things can have great mass, gentle things can be savage. Thus, it seems to me that these small paintings are about the last five days and my despondency over the electing of President Trump – who seems determined to gently, casually, chew away at the fabric of U.S. society.
#Trump #sharks #POTUS
You can find out more about Dan Nuttall and his art HERE
His current solo exhibition at Lee Contemporar Art HERE.
I have recently finished reading Elena Ferrante’s “Neapolitan Quartet” – which I thought was brilliant. As I progressed through the four novel set, which makes for a great summer read, I continually felt that I was experiencing the streets, the open windows, the smells of food, days at the beach, cramped apartments, gatherings and other interactions between the characters. Taking a step back I was intrigued at how something as simple as “text” – strings of symbols, concatenated or spaced – could conjure a fully fleshed out albeit imaginary world. The act of reading Ferrante created a flow; text became images, a fabric of sorts was sewn and stretched across my imagination. I was delighted to find out that the Latin for “fabric” is textum. Texts can create paintings.
The opposite, of course, can occur. We can look at a painting or work of art and “read” it, creating a “text” of sorts. Symbols, signs, colour, forms and other stimuli create associations and messages that reach out to confront our gaze. Sometimes the story is robust and coherent and other times it is a rough assemblage of ideas, sometimes more like sentences, often just a few words or a notion. Sometimes art presents us with a blank page and it remains unwritten, unread.
The National Gallery in London breaks down the process of reading paintings as follows:
“Reading a painting is similar to reading a book:
The reader decodes symbols to establish meaning
The reader uses inference and deduction (e.g. body language) to deepen understanding
A reader’s previous knowledge and experience affects their personal response”
Memory of course plays a role, intimately tied to experience, and our reading of a painting’s text ends up being diagnostic – speaking about who we are, what some of our experiences have been, what our “world views” may be.
My first solo show at Lee Contemporary Art, in Orillia, this summer, is a retrospective of sorts, a chance to look back in time and allow viewers to read multiple texts at the same time. Or, in other words, to glance at a group of paintings or texts and ask : Is there an overarching or meta-narrative? What are the common themes?
Of course, telling someone abut a book or a painting is often both a dull and corrupting process. And yet people who visit galleries often want to know “What does this picture mean?”, “What was the artist thinking or trying to achieve?”. So, to accompany this exhibition I thought perhaps a balanced approach might work – I would say something minimal about these works – perhaps just words even, and allow the reader and/or viewer to assemble the text. These words are beneath each of the paintings above, and are intended to provide points of reflection, threads form which larger stories may be woven. These paintings, and others, will be included in “Landscapes : Reading and Memory”.
These paintings serve as a gathering of texts. From such gatherings a library of sorts arises, an edifice that is created by both the artist and those that gaze upon art. A place where both can dwell.
Please feel free to comment or to get in touch with me regarding this post. My exhibition information is as follows:
ANNA OSTOYA, Slaying, 2016
KATHY GRIFFIN, Slayed, 2017
In 2016 I had the pleasure of viewing Anna Ostoya’s exhibition SLAYING at Bortolami Gallery in Chelsea, NYC. Here is a quote from the gallery’s press materials:
“Bortolami is pleased to announce Slaying, Anna Ostoya’s third exhibition at the gallery. In her new paintings and photomontages, the artist deploys Artemisia Gentileschi’s iconic work, Judith Slaying Holofernes, as an image of violence inherent in art and in life. The original painting depicts the story of Judith, a Jewish widow who saves her people besieged by the Assyrian army. With the help of her maidservant, she plies Holofernes, the army general, with alcohol and then beheads him in his drunken state.
In these new paintings, Ostoya inspects the crime scene, analyzing it through geometrical abstraction. She substitutes Judith for Holofernes, in Judith Slaying Judith, and Holofernes for Judith, in Holofernes Slaying Holofernes. Each figure attacks itself. These large canvases are accompanied by smaller ones where the artist further analyzes the scene.”
When, where, why is it appropriate to show a human being getting decapitated? Who gets to articulate, investigete, dramatize or commit such acts?
1. Get the Big Picture. One of my faves is a short publication by Canadian Art Magazine titled “Collecting Guide” which is concise and easy to read through. You can find the guide HERE.
2. Educate Yourself. Take a course on the “Art Market” or “Art Collecting” at an art college or university or museum/gallery in the evenings. For example, here in Toronto, you simply can’t go wrong by enrolling in a Hughene Acheson course in Continuing Studies at OCAD. Lively, stimulating and filled with incredible opportunities – guests and meetings with local art world luminaries and private collections – you’ll be thrilled at what you are exposed to. You can read what I have said about OCAD courses HERE.
You can also watch a video or two on “The Value of Art” By Sothebys. This collection of 10 short videos touches on topics such as authenticity, provenance, size and medium offers a robust perpsective from one of the world’s leading auction houses. You can find these videos HERE.
3. Think About Your Space and Budget. Best to do this before you end up in a gallery or at an art fair. What are the advantages to thinking about “Art As Area”? You can find out HERE. Have a tape measure and a blank wall handy!
4. Think Broadly About the Benefits of Art. I love the notion that looking for art is adaptive in an evolutionary sense – we’re essentially hunting and gathering! You can read about that, and chat about it at dinner parties later, HERE.
Keep in mind that art can also be therapeutic. You can read about the dangers of blank walls HERE.
How broad are the benefits of art? Check out this short article on how blue art can help cool, HERE.
5. Read About Art While Being Entertained. Books like “Seven Days In The Art World” by Sarah Thornton are wonderful exposure to the broader art art and how it may be contextualized. More HERE.
Equally as entertaining, Toronto based Don Thompson has written a realy stimulaitng book on “The $12 Million Stuffed Shark”, more HERE.
You can read more about the author Dan Nuttall and view his works of art HERE.
For just a brief moment my body, suspended mid-leap, is doubled, my reflection in the stream’s surface a fleeting portrait of a teenaged boy trapped between the blues of sky and water. I am fleet-footed at this age, able to bound from boulder to boulder, curious about the matted bundles of driftwood, the truncated forest edges, the suspended log pathways, the coursing water both hidden and in plain sight. I feel a part of nature, a creature sensing its way along a watercourse.
The stream connects me to life – a wren nest wedged where deadfall branches interlace, robust pungent moss pressed under my palms, smoothed stones, crunching sorted gravel and sand. As if a paintbrush has been flicked, a spatter of dark olive streaks dart to where my amphibious scuffing of rocks has dislodged algae. The small green cloud drifts, all pattern, change and sustenance.
Shoulder to shoulder bleached granite sentries create a jumbled causeway of exits and impasses. I am humbled by their smoothness, their completeness, the ease of their weighted, shouldering postures, so separate from the stuff of water and so inseparable from the idea of stream. The light is emanating around me, floating above the gravel beds, glancing back from every riffle, splashing back at the world in radiating rings, mixing with the dappled streambank shade. The world, in flux, hovers between abstract and real.
Years later, far from any stream, but not so far from the Hudson River, I am standing in the Whitney Museum in New York City looking at the delightful paintings of Charles Burchfield. The show, aptly titled “Heat Waves in a Swamp: The Paintings of Charles Burchfield” is mostly watercolours. Many of them have been painted as if elements within the painting are vibrating, and the overall effect of the brushstrokes is one of a charged atmosphere. Here are my “emanations”.
Charles Burchfield’s emanations captured sound, light and the ephemerality of nature. His watercolour painting “Autumnal Fantasy” (1916-44), seems to be alive with calls of nuthatches, while the pounding light of the sun passes in crescents through the woodland clearing and between the trees. Even the holes in tree trunks seem to emote. The very substance of nature hangs precariously on the page, waiting for entropy and the eye to force their way between the vestiges of substance. Guy Davenport, writing in “Charles Burchfield’s Seasons”, suggests that “The step from Van Gogh to Willem de Kooning is a short one… that Burchfield… took in his own way, into an idiomatic calligraphy of his own devising, a sign language for radiant light, for wind, for insect song, for emanations”. Expressionistic in his treatment of light, Burchfield’s works is often described as mystical and visionary. His paintings leave me with the feeling that he is able to see a nature more alive than nature. Though he has not received as much attention as many other American painters it is worth noting that Burchfield had the distinction of being the first person to receive a one-person exhibition at the newly opened Museum of Modern Art in New York City, in 1930.
Similarly, Emily Carr’s emanations are rooted in the mystical. While Burchfield’s emanations were more discrete and identifiable, Carr’s merged in large swooping streams of colour that radiate from nature or course through the air, becoming a vital plasm in which all things are immersed. In “Edge of the Forest” (1935), the central tree seems to be the source of an emanating aura which fills the sky. In “Juice of Life” (1939) and “Blue Sky” (1936) all of nature moves together, a synchronous coalescing flow within the universe. Carr’s exposure to Christianity, particularly her upbringing with Calvinism, her experimentation with theosophy, her later reading of The Sadhu written by B. H. Streeter (about a Christian mystic from Punjab named Sadhu Sunder Singh), ultimately become layered in her approach to painting – an approach that uses radiating or coursing illumination to depict an ecstatic source of enlightenment. In Carr’s representations of nature we find a form of reconciliation, a pronouncement of the world at peace, often with a sense of calm, harmony, or joy – akin to the experience of a soul in union with a higher power.
The painting of emanations draw our attention to nature and then beyond nature, to the unknown and unseen. Life, as if subatomic, both light particle and wave, illustrating the engine, the power, the mystery that drives it all.
By dwelling on the ephemerality that Burchfield so boldly pronounced we are able to inhabit that “soft focus” moment of being dazzled and at peace with nature. However, unlike Carr’s mystical harmony these works present a pulling apart, a disassembly, through the use of a fractured and changeful whole. The viewer must work, engaging the parts and using energy to assemble the whole – an ecological act in itself.
I often tell people that being an artist is like being a more primitive human – we tend to live in caves more commonly referred to as studios. Periodically, we step out into the world, art in tow, to bask in the light of the collective gaze.
Though few primitive humans actually lived as cave dwellers, over ninety percent of human history has been spent hunting and gathering. As hunters and gatherers the ongoing goal of the human animal has been survival and adaptation. Over evolutionary time frames the success of our species has been predicated on our ability to detect and then locate the resources that allow us to survive. Such detection has relied heavily upon our sense of vision. In terms of space allocated to the senses vision is the clear forerunner – 30% of the neurons in the brain’s cortex are dedicated to vision while touch (8%) and hearing (2%) are a distant second and third. The human animal is a species that has evolved to search. The human animal is a species that has evolved to look.
And what are we adapted to look for and thus at? Things that sustain us.
As the human animal has evolved the idea of what sustains us has broadened in direction association with our broadening culture. While “hunter and gatherer” humans travelled great distances to secure the things that sustained them, the transition to a more sedentary agrarian society meant a consolidation or concentrating of necessary resources. Think about your reaction when visiting a market – all those resources gathered in one place – and the pleasure of looking nearly synonymous with the reward of having. The invention of agriculture ensured that variables such as proximity, diversity and ease of selection became critical criteria in determining how we live. Further, it makes sense that we tend towards modes of efficiency when securing valuable resources. It seems then that we humans have a foundation built upon hunting and gathering, with a veneer of newfound appreciation for the efficiency of the marketplace.
Most animals have “search images” meaning they have evolved to have forms of visual shorthand that help them locate the things they need to survive. In a world that may seem visually confusing to us, the process of evolution has produced animals adept at spotting exactly what they require to ensure their survival. Thus for human animals a glance at the confusing tawny stubble of a fall field yields little to look at while the scanning eye of a hawk has evolved to identify the exact information required to pounce and secure prey. Animals survive by developing images of the things that will help them survive.
Enter the art fair, where hunting, gathering, and the search for images and survival collide.
But is a visit to an art fair somehow adaptive? If it is, what are we searching for? And how might it be adaptive? Do people who collect art or live in the presence of art leave behind more genes? Is there something about collecting art that connects us to our more primitive selves? What does a visit to the museum or art fair or the collecting of art or exposure to art do for the modern human being?
A visit to an art fair keeps our “sensual selves” intact, meaning that we “live in the realm of the senses” when we look at art. Such looking engages and hones our senses, particularly vision, as we move about, like our primitive selves, in search for things that sustain us. Is the act of looking at art at an art fair become a metaphor for survival? Instead of seeking the actual resources are we instead seeking representations or scenes where our basic primitive needs can be met, scenes that we are “hard wired” to appreciate? And are there other benefits at play that are also adaptive?
When we think of how humans evolved the theory of “prospect-refuge”, proposed by Jay Appleton, in “The Experience of Landcsape” (1975), proves particularly useful. This theory suggests that humans were essentially an “edge” species that inhabited the boundary where the forest met the grassland. There, our species could seek safety (refuge) in the forest while being able to seek opportunity (prospect) while looking out over open spaces. More specifically:
“1The theory thus predicts that humans are attracted to art and circumstances that have:
It further predicted that we should like spaces when:
we are at the edge, such that our back is protected (rather than the middle where we are most exposed)
we are covered, rather than open to the sky
In short, we should like everything that is optimal for survival and reproduction in the savannah. The theory says that we respond to such things in art subconsciously, and that individuals attracted to such circumstances would have stood a better chance of survival by choosing to spend time in such places. Art that puts the viewer in between prospect-dominant and refuge-dominant areas will be most appealing.”
Prospect-refuge theory seems to predict not only the kinds of spaces we might actually enjoy but also the kinds of spaces that we might like to have represented. Indeed, prospect–refuge theory seems entirely consistent with some of the most popular genres of painting, namely “landscape” and “nature” paintings. The theory is also consistent with the kinds of landscapes that are designed to be “therapeutic” for human beings. You can read more about therapeutic landscapes HERE.
Such gazing at nature and landscapes, if it enhances our chances for survival, should place us at ease, at peace with the open space, the greenswards, the falling water and plants, the animals, and the abundance of resources at hand. This sense of ease is supported by research that indicates that being in the presence of actual or virtual landscape-nature resources can prove relaxing. You can read about how landscape and nature art reduces stress HERE.
But back to evolution and adaptation and leaving more genes than your competitors: do people that experience the relaxing and therapeutic aspects of art leave behind more progeny?
One could argue that relaxation is a key variable for survival in our modern lives and one does not have to look very far in the literature to find concrete evidence that stress reduces lifespan, sex drive and quality of life.
So it seems that when we engage our senses in the act of visiting an art fair we are doing more than merely wandering amidst a deluge of images and occupying time. Instead, we are searching for images that connect us to our primal needs and simultaneously serve as resources for our contemporary selves. In our modern lives the resources we call “art” engage us in ways that are adaptive, in ways that help to relieve stress and to sustain us. Thus art and the art fair are essential to the self in both cultural and evolutionary senses.
I like to think that when modern humans, Homo sapiens, occupied caves, one of the benefits of being bi-pedal, dextrous, and a tool maker and user, was the ability to place art on their walls, through drawing. Today’s art fairs have come a long way. There are now a myriad of ways to put art on your walls, and the act of hunting and gathering art may be more essential to your survival than you know.
There are so many items that we pay for that charge by the area. The cost of a house is usually related to the number of square feet. Renting commercial space? Buying flooring? Paving a driveway? The cost will often be calculated in terms of the number of square feet or square meters. In short, area is a simple measure that can be correlated with cost. It’s easy to see how the pricing of art could follow a similar approach, particularly “two-dimensional” work like paintings.
The math is simple: take the price of the painting and divide it by the area. You can then compare the value you derived, in cost per unit area, to examples of art across a broad range of price points. For example, “affordable ready-to-hang” art costs at select retail sources are roughly as follows:
HomeSense $0.06/square inch
Winners $0.06/square inch
Ikea $0.04/square inch
The pricing of a popular Toronto artist who has been successful at marketing their work through community or artist run galleries and some retail stores in Toronto (no, it’s not me):
Toronto artist $0.77/square inch
This silkscreen, “Balsam”, by Charles Comfort, is priced at $0.825 per square inch
Here is the pricing for a Canadian artist, with an education in art (BFA, MFA), who exhibited last year at a well known and highly respected art gallery in downtown Toronto (again, not me):
Trained artist $3.23/square inch
Let’s go all out and compare all of the above to some art “super-stars” Francis Bacon and Jean-Michel Basquiat, the cost per square inch for, respectively, Three Studies of Lucian Freud and Untitled:
Francis Bacon $10,492/square inch
Jean-Michel Basquiat $22,486/square inch (info HERE).
Why think of art in these terms? For collectors who are just staring out it may be a useful starting point for organizing your thoughts around purchasing.
It’s obvious that there are many other variables that come into play. Are you a serious collector? Is it your expectation that a work of art appreciate in value over time? Are you changing your art every year? Will you gaze at the art every day or is it really about covering up that stain on the wall? Should you hire an art consultant?
Here are some of the advantages to the “art as area” approach:
From the perspective of the purchaser it allows you to establish a ballpark figure for what you might spend on a piece and to compare prices across several different artists and different paintings. If you look at the yawning empty space above your sofa for example, and feel a 36 x 48” piece of art would be ideal you know that (36 x 48” = 1728 square inches x $2 per square inch = $3456. From this point you can begin to play with the variables – How does changing the size of the piece affect your decision-making? Do you feel that your unit area prices need to go up or down to meet your budget and aesthetic goals? When you visit a gallery or art website how do the prices of paintings you like break down to cost per unit area? What do you consider to be a fair price to be charged for services rendered?
From the perspective of the artist it allows the artist a quick and surefire method for estimating the price point for their work on the spot. If you charge $5.00 per square inch and have a 10 x 10” piece of art in front of a potential collector it’s easy to do the math in you head – no running for the price sheet – 10 x 10” x $5/in2 = $500. As well, “art as area” thinking also provides a baseline for changes in prices. Had a good year? Great reviews? There is a waiting list for your work? It’s easy to take your $5.00 per square inch price and edge it up to $5.25 and relate this price increase to the aforementioned variables or the rate of inflation or increases in the price of art materials or life expenses. Feeling that your painting price point is strategically situated within the art market and defensible in terms of your efforts can provide a sense of confidence to your practice. Keep in mind that artist materials start at $0.03/square inch (e.g., wood panel) and can skyrocket upwards at an alarming rate depending upon the type of materials used.
This is just one approach and, admittedly, it’s superficial. Hidden behind any marketing and pricing strategy are living, breathing artists who create highly original and engaging works of art – and who need to make a living. Will you avoid the lower end mass marketed prints that clutter our landfills? Will you support local living artists? What would you be willing to pay to support a local living artist whose work might accrue in value? What did the artist’s materials cost and what is a fair wage for an artist who spends a month on a painting and experiences the same cost of living as you do? Thinking of art as area may be just the right starting point for your art collection.
Dan Nuttall is a Toronto Artist who charges about $1 per square inch for his paintings.