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.
Seen from the sky, the rectangular shape of Central Park in New York City looks like one big nature painting. Central Park functions like a nature painting too. Or, more accurately, both the park and the nature painting borrow from the same body of research. This research has demonstrated, over and over again, that people are restored by experiences of nature – whether real or virtual.
So here is an invitation. Today when you go home, take a tour with a question in mind: How do the walls that surround me affect me? And if I can’t get to the park, is there any kind of facsimile role for depictions of nature?
The research on this subject is expansive and, quite frankly, breathtaking in its implications. Nature can dampen road rage, nature can boost the spirits, nature can improve attention capacity.
Have a crabby friend? Get them out of doors AND get them art that they can escape into. A 2002 study lead by Andrea Taylor and her team found that people with “greener views”scored higher on tests of concentration, inhibited impulsivity, and ability to delay gratification. Want a more peaceful domestic life? Think green, think scene. Think park visits, think art that depicts nature.
There is likely another rectangular painting-like entity in your life that competes for your attention, the television. Generally, it doesn’t compare, unless you’re looking at scenes of nature and looking at such scenes produces an intermediary result – somewhere between a blank wall and a view out of a window. The medium is the message. Research indicates that when views are NOT of nature the television actually prevents you from engaging in reflection – something the world is sorely in need of these days. Art can fix that! By the way people who have a television in their bedroom have 50% less sex than those that don’t!
So, let’s recap! No blank walls. Get Art!
If you can’t get outdoors, Get Art.
If you get art, art that depicts nature is a good decision.
The exhibition “The Idea of North”, which focuses on the artwork of Group of Seven member Lawren Harris, is currently on display at the Art Gallery of Ontario.
Canada’s leading arts magazine, Canadian Art, has criticized the show for its “…erasure of Indigenous perspectives…” and the “…glaring omission of indigenous art”. As someone who has only recently discovered himself to be of indigenous descent, I often catch myself wondering about the parts of our culture and the parts of our “selves” that have been erased or lay dormant. How do we deal with the thing we knew existed but has been erased? How do we integrate new aspects of self that suddenly pop into view, disrupting the calm and composed surface of the self? Who am I now that I know I am someone else?
Acknowledgement is critical.
As I toured the exhibition I pondered additional absences. In most of Harris’s early paintings there are very few people, and in later iconic works absolutely no people. So too with animals – a few horses in earlier work, none in later iconic works. How can these paintings stand for “nature”? For “the North”? For a vision of a multi-cultural country? On the other hand: do all paintings have to include all things in order to represent an idea? Can the study of a single facet of a diamond play a role in understanding the diamond as a whole?
I have always had a quote running around in my brain which I cannot attribute to anyone and can only paraphrase at the moment: “Without animals there is no forest”. Some things, by definition, have to “include” in order to “be”.
My painting below was created in response to the exhibition “The Idea of North”, currently showing at the Art Gallery of Ontario.
In the fall of 2015 I won the Juror’s Prize at the 14TH annual Orillia Museum of Art & History’s “Carmichael Exhibition”. This national juried show asks painters to re-invent the work of the Group of Seven. No small task, as a Canadian who loves this county’s wild spaces and the work of the Group of Seven, such a task seemed entirely daunting. Winning the Juror’s Prize was a special moment for me.
Since then I have come to find a special place in my heart for Orillia, the birthplace of Franklin Carmichael, one of the painters in the Group of Seven. Visiting the Orillia Museum pf Art & History is always a real joy – diverse programming, great reach, first rate curation, you can see what’s happening at OMAH right HERE.
Following the OMAH exhibition I sat back and wondered: “What next?” And what of representation? One of the best pieces of advice I was ever given regarding finding representation was “Move towards a gallery that is moving toward you”. I interpreted this to mean that someone on the gallery side has to make some kind of foray towards the artist. It also means that the artist has to be completely open, certain that the gallery is making a move toward them, and willing to capitalize on the moment.
Do you have a website, a resume, a prepared biography and appropriately sized images at hand? I don’t consider a piece of art completed until it sits in a folder in my computer. This “piece” of art is the one that is going to march out and meet the world – primarily in the digital realm. I keep the image in an original raw form, another sized and of sufficient resolution for full display on-screen, and then a smaller version for easy dissemination via social media.
I was elated when Lee Contemporary Art(LCA) in Orillia, run by Tanya Cunnington, began with some small conversation, followed by a few emails, and then offered to represent me and my work. I was able to respond to Tanya’s requests for more information as soon as made the request.
Lee Contemporary Art exhibits emerging and mid-career artists and exhibits artwork which is “inclined towards playful, cutting edge, progressive and modern”. Artists represented by LCA include:
LCA and I have spent the last year moving towards each other, as if on a very long comfortable bench, slowly migrating towards each other until we were seated side by side. It’s been a slow and enjoyable process – I have taken the time to get to know the gallery and they have taken the time to get to know me. I admire the work of the other artists and will be humbled to be in their company.
I am pleased to invite you to view my recent work and the work of some stellar Canadian artists at at Lee Contemporary Art HERE.
For those of you who are searching for representation, take heart. Stay motivated, be open, be prepared, look for someone to join you on your bench, listen for the sounds of them moving toward you and strike up a conversation. Good luck!
Toronto has a burgeoning art scene and one of the great joys of this metropolis is attending both indoor and outdoor art shows. You can find a brief overview of some of Toronto’s art shows HERE (keep in mind this an overview of 2015 shows – check back for updates on BlogTO in a few months for 2017). In the mean time you can track whatever shows seem to appeal to you in terms of geography and timing. My personal faves are are: Art Toronto, the Toronto Outdoor Art Exhibition, and The Artist Project 2017 which is occurring February 23-26 at the Better Living Centre at Exhibition Place in Toronto.
Ever wondered what it takes to be a part of a juried art fair in Toronto? Well, last year was my first time ever at The Artist Project and I can tell you – it’s challenging!! What are the variables that an artist (ahem, businessperson) must consider?
Creating a check list. You’d be surprised at what I am taking on site – a blow dryer (for removing vinyl name lettering at end of show, a cordless drill, business cards, price list, e-mail sign up sheet, material for closing off booth at night, a tooth brush, a small desk, a chair, a step-ladder).
Reading and signing your contract (read carefully, are there any opportunities for refunds if you fall ill or there is some other interruption)? If you became ill could someone take over for you?
Determining how much space you need (10 x 10′, 10 x 15′, 5 x 10′) and whether a corner booth or being part of a row is to your advantage.Last year I was part of a row and I don’t think my booth received any “more” or “less” attention than those around me based solely on booth location.
Paying for space, electrical outlets, lighting, storage, liability insurance, parking pass, technology to process payments, materials for wrapping sold items, name signage, tools and supplies for hanging art, price lists, business cards, promotional materials, booth furniture (you have to sit at some point!).
Transporting your art to site and having someone to help you – this is a job for two!
Storing your art on site (if available).
Staffing your booth when you need a break.
Booth security (you’re not allowed to spend the night in your booth!)
Determining how purchases will be processed (think HST/technology/cost).
Solidifying and promoting your brand – and being consistent across social and traditional media (sign in book? gathering visitor’s business cards? handing out your own?).
Determining which works you will show and how this fits into your overall art career strategy. This is the ultimate challenge. What will sell? Will you fill each wall from floor to ceiling or undertake a more spartan approach? If a curator or gallery owner walks by what might they think?
Your personality. Can you stand for 8 or more hours and smile and be pleasant and entertain questions of all sorts and speak about your art if requested?
If you’re curious about what item 2, above, adds up to, drop by my booth in 2017 and I will be happy to discuss.
You’ll also have to determine who you might like to invite to an Opening Gala if there is one. In my case it was two ardent collectors who have supported my work over the years. If there are additional general admission tickets available you’ll have to decide who else might like to come – again in my case I have an e-mail list of people who have purchases in the past and who promote my work – they get first crack. You’ll also have some free tickets to give away during regular show hours – make sure you line these people up too!
I use my computer to lay out my space in both plan and exploded elevation. In plan I can place my lights, art, front desk and furniture for visitors. I also use this approach to lay out the sequence of images should one/some/any of them sell.
In my case I asked two knowledgeable individuals that I trust to “read me the riot act” – what stays, what goes, and what excites them? How do the pieces related to each other? What story can I tell about an “set” that occupies my walls? What role does chronology play? One of these individuals is an art administrator/programmer/consultant and the other is a well known artist/jurist/curator. Both are avid visitors to art happenings and shows. Thanks to both of them for their counsel – it’s hard for artists to look at their work from the outside and I can’t thank you enough!!!
Looking across all your work an overall theme or subset of themes may play an organizing role, as might colour or how linework complements or leads the eye. Content may be irrelevant at a distance. I am also going to have a diversity of price points including some slightly earlier pieces which are smaller and less costly so that I can accommodate all types of collectors. I remember being a student and wanting to support art!
Raven and Mirror
Raven and Window
Raven and Bell Jar
There’s no denying that blue is the world’s favourite colour and scenes of nature are therapeutic but that’s not stopping me from introducing some bold works that abstract, or address topics like extinction, my recently discovered aboriginal history, animal intelligence and machines of war.
If you decide to enter a fair or art show just keep in mind your budget, your long term art goals and your willpower. Keep your web site and social media up to date. You can see my web site HERE and my artist profile for The Artist Project 2016 HERE and a piece donated for fundraising which will be sold HERE.
And lastly, stay the course. Whenever I feel challenged in any moment my last battle cry is” ONWARD!