A Secret Society on the Web

There is a sorta secret society on the web that actually is accessed outside the web. It’s a place where originality and creativity work hand in hand with community and  networking. The shows are constantly in Flux (an inside joke). And the artist tend to laugh a lot. And while many of the exhibitions are created around themes just as many are un-juried. These are artists that promote interaction outside of the normal approval systems of galleries.

Okay I’m talking about mail art. And as Ray Johnson who is considered the first mail artist called it, Correspondance Art. As the name implies it is based on sending small scale original work through the mail usually to a network of other mail artists. Or like I do at times, just send pieces to people I meet in my daily life.

The artwork can consist of collage elements, rubber or artist created stamps, found objects, recycled objects, paint and just about anything that can fit in an envelope or be attached to a postcard. To the artists once its sent it is then mail art. As a precursor to cyber communities these virtual communities also span the world.

From its start in the late 50’s to the establishment of Ray’s New York Correspondance School, to the schools death on April 5, 1973 as written in Ray’s unpublished letter to the Obituary Department of the New York Times and still now throughout the world, mail art is thriving. Anyone with a mailbox and the cost of postage can participate in circumventing the commercial art market.

As Published in Wikipedia; The mail art philosophy of openness and inclusion is exemplified by the “rules” included in invitations (calls) to postal projects: a mail art show has no jury, no entry fee, there is no censorship and all works are exhibited. The original contributions are not to be returned and remain the property of the organizers, but a catalog or documentation is sent free to all the participants in exchange for their works. Although these rules are sometimes stretched, they have generally held up for four decades.

One of the most popular sites for mail artists is the International Union of Mail-Artist, IUOMA. Its variety of groups covers just about any interest. But if there’s one missing feel free to start your own group. Either way you are guarenteed to meet some of the most fascinating people on the web through Mail-Art.

 Remember; Imagination is never still. The marks we make are verbs!

Don’t Loose Your Artwork to the Studio Mess

This past week I was with some friends at a local coffee shop, all right it was Panera’s, and we got on the subject of how much inventory artists have. This of course led to how do you keep track of the stuff. Not surprising most artist don’t keep track of their art or they hope their spouse or partner will magically do it for them. Personally I run about 50 50 when it comes to keeping track. At least I did until the beginning of this year. That’s when I was surprised by multiple sales of sculpture and paintings from the gallery that represents me, and while this was a great thing, I realized I didn’t have a clue as to which ones sold. I know that sounds silly but somewhere along the line the gallery and I had different names for the works. It took weeks of searching through computer files to match up the sculptures. It was then I decided that this was NOT going to happen again.

So I devised a plan to inventory my work in a coherent fashion that would not be labor intensive. After all I’m an artist and my mind tends to wander to more creative endeavors, meaning art marketing overwhelms me. You can make up a spreadsheet for this but I don’t keep a computer in my studio. Besides I thought a basic handwritten log would be a good starting point. My laptop is way to distracting. However I do  try to transfer this information periodically to an Excel sheet which I’ll go over at another time.

  • I created a naming convention that works for me. Year-Month-Number, which looks like this 15-o6-001, (2015, June, first piece)
  • I place this number on the back of a work in the bottom right corner WHEN I START IT!  Wherever you put it be consistent.
  • Now for the really hard part. Copy the number in a cheap composition book. You can add more information later.

I need to interject a small note here. YOU WILL MESS UP THE ORDER OF NUMBERS ON THE BACK OF ARTWORK. So what, its your reference, you don’t get marked on it. I wrote the same number on 3 separate works and had to go back and change them. No one laughed at me. So if it makes you feel better go ahead and list a bunch of numbers in the book now but skip a line between them. That way you can jump to the rest of the information you need to record. Let’s look at that now.

  • Weekly I go back to the book and next to the art works matching number I add the medium, (acrylic, oil, watercolor, etc)
  • Next I list the substructure, (canvas, art board, watercolor paper, etc) You can make up your own abbreviations, just be consistent.
  • Then I list the size which is about the last known piece of information.
  • I leave the title and description for last because you know the work can change overnight.
  • Once the work is done I write the title and size on the back.

It takes a little work but if you start now with any new work you can go back and tackle all that other stuff laying around. Remember these do not need to be in sequential order. This list is for you to inventory your work. It will be important later!

Let me know how you keep track

Imagination is never still. The marks we make are verbs!

Harn Museum Review

If you have a chance to stop by the Harn Museum of Art on the campus of the University of Florida, Gainesville DO SO!
We were there this past week and while it was in between major shows, the displayed work from their permanent collection did not disappoint. Being a sculptor and painter I was excited that the first piece I saw was a  Frank Stella work, Zandvoort, 1981. This mixed media wall hanging on etched magnesium was alive with color and shape.
DSCN5832One thing I’ve wanted to see as a sculptor was work by David Smith, I wasn’t disappointed. The museum had 2 on display,  Hi Candida and Zig I
Hi Candida                Zig I

Paintings were not in short supply either. There was Florida Lake by Milton Avery, Jim Tadell’s Place by George Bellows, Pulling Turpentine by Ellis Wilson and the flute player and the Watermelon Eater by Picasso
Avery   BelllowsWilson  Picasso

The Harn Museum has works in eleven galleries all on one floor. Their collection consists of more than 9,000 works and they rotate the pieces regularly. This is just a short review to introduce you to a wonderful museum, Oh and did I mention its FREE

New Paintings

I have been exploring the personality of paint by layering acrylic paint, papers and a variety of other textural surfaces. I have combined this with surrealistic conceptual works that delve into astrology and symbolism. Feel free to let me know what you think. Taurus (24 x 36) is about my sign and how I feel about it, Once the Bird is Released (16 x 20) refers to the symbol of a bird released in a painting referring to a woman releasing her innocence and She Has Always Danced With Fire (18 x 24) while an erotic work is also related to Native American culture.

Taurus   Once the Bird is Released   She has always danced with Fire

Location, Location, Location…NOT!

Any time you put more than 1 artist in a room the question of location rears its ugly head. This seems especially true when you see art similar to your own or work that just seems so ‘familiar’.  And by this I mean it looks like the same thing redone, recycled or re-whatevered.
Brian Sherwin  addresses this misnomer of believing you need to be in the center of the art universe to succeed, in a recent blog.  The excerpt below should be enough to make you want to read the rest. His blog site is also a great one for interviews and art commentary, http://briansherwin-artcritic.blogspot.com/

The Location Trap

by Brian Sherwin

In closing, we need to kick the myth surrounding artists and location to the curb. This much I know: artists AND art collectors can be found throughout the United States. I’ve met my fair share of both during my travels in rural communities throughout Illinois, Missouri and other states. Not to mention we are all connected online. Focus on where you are… keep your feet planted in your art studio as much as you can — everything else will come in time. […]

Read the rest of this article at:
http://faso.com/fineartviews/87572/the-location-trap

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