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Nov 14 2020

Why Be in an Art Group

photo-of-tricia-with-her-easel
Tricia and her Easel

Just about any town that has more than a handful of artists is likely to have a local art group. When I decided to take myself seriously as an artist, one of the first things I did was join an art group.  I have benefitted from doing so and have seen that the same is true for the other art group members. Here is a list of benefits to being an art group member:  Group members…   

1.  Socialize and make new friends.  Most artists work in solitude.  Creating art means being in the studio, concentrating for hours, with little opportunity for interaction with others.  Art group meetings provide an opportunity to interact with other artists, get input from them, and share your common interests.    

With access to a supportive art group, full of potential friends, you can experience so much that the art world has to offer.  Some art clubs have plein air groups and field trips.  Museums are the perfect place to get ideas and expand your artistic repertoire.  Not only can you visit art shows and festivals with fellow group members but also you can organize and participate in shows together. 

2.  Enjoy common interests.  You are likely to have a great deal in common with other artists, especially in groups welcoming a particular type of medium, such as painting or pastels. The key to finding a satisfying artist group is to seek people like yourself. When you are looking to join an artist group, try to find a group with similar interests, goals, and skill levels as your own.

Being an artist can mean a lot of things: being a painter, sculptor, photographer, potter, graphic designer, printmaker, and so on.  If you are a painter, joining a group that specializes in pottery will most certainly be a mismatch.  Even interests among artists of the same medium can vary widely.  For example, if you are primarily interested in painting landscapes, you might not be terribly enthused with a still life art group.  If you are a photo-realist, you may find yourself at odds in a group that favors abstract expressionism.  Finding an art group that has similar interests in terms of style, medium, and subject matter will benefit you the most.

Before joining an art group, it is important to find out what are the group’s goals. How serious are the artists in the group?  Some groups simply like to get together, have a few drinks, socialize, and network while others may have scheduled, organized meetings with time limits and agendas.  “Working” groups such as plein air groups or mural painting clubs enjoy getting together to create art in the same setting as their peers.  Some art groups may like craft fair setups and sales.  Other artists may be seeking to “make it big,” and gain fame and fortune, while there may be members who are perfectly content to dabble artistically as a hobby.  Making sure that the goals of the art group you are interested in are similar to your own can ensure that you don’t end up frustrated with the direction the group is headed.

When you seek the company of other artists, look for people of similar skill levels or at corresponding points in their career. Learn from the best in the group, but also be open to sharing your techniques and skills with those who might not be as experienced as you are.  Finding a group in which you cannot only learn, but also share with others will allow you to grow as an artist and a mentor to others.

3.  Inspire and encourage.  Art groups are a good place to receive encouragement. You are likely to receive praise, support, and advice that should help you become the best artist you can be. The art clubs that will help you are places where other members want what is best for you.

Your inspiration is one of your most important tools as an artist. Feed it with new input from others.  There may be more experienced artists in your group, so why not ask for some advice?  To put some fresh perspective on your work, your group can hold art critiques where you bring in your completed piece of art and ask for feedback.  Other groups hold friendly competitions at their meetings, which also supply a form of feedback.  

Group members can support each other through creative dry spells.  If you’ve ever had one, you know what this is like.  It’s that feeling that you know you need to finish a painting, but you just don’t feel like it or you start to question what you’ve completed already and whether it’s going to turn out the way you had envisioned it.

4.  Provide positive peer pressure.  Perhaps one of the greatest benefits to joining an artist group is this gentle pressure to produce art.  Like other people, artists are prone to procrastination.  Being a part of an artist group can often provide a boost to your work ethic, pushing you to finish projects that you might not have otherwise completed.  Having the strong backing from other members keeps an artist motivated.  Artists who are part of a successful group will be excited to share their latest work and will most likely find themselves working harder to have new things to share with the group.  Questions from other members, such as, what have you been working on lately, form a positive form of peer pressure.  You’ll want to bring in your latest finished products to show off.  After all, most people aren’t going to be terribly excited about artwork created 10 years ago.

5.  Teach new art and business skills.  See what other people are doing and learn from them. Each artist works differently.  Whether this difference arises from the preferred type of medium, painting style, or subject matter, you’ll typically find something new at art group meetings.  To be a successful artist, you must be comfortable with both the isolation required for self-expression and the networking required to get your work out there where it can be seen, appreciated, and sold. 

Fellow members are great sources of one-on-one advice.  You can ask about good art supply and frame shops.  You can talk with other members about the way they tackle the business side of being an artist, find who is giving workshops, or attend a group meeting where one of the artists is presenting their art and techniques.  Business skills are just as important as your art skills.  Maybe you don’t know how to find out about and enter art shows, get into your first gallery, or sell online.  Some art groups are geared towards helping member artists in the marketing of their art.

Your group can bring in speakers to demonstrate artistic skills or discuss business strategies.  As a group, you can afford to hire an expert in that field to come and speak to you.  Instead of paying someone $100 an hour, you only have to pay $10 if you have 10 people in your group.  A similar strategy can be employed for sharing the cost of live models. 

6.  Share knowledge.  Continually learning and expanding your art skills can be fun and rewarding.  You may also help others in areas where you have more expertise.  You have an opportunity to teach fellow members what you have learned about your medium, your preferred equipment and art supply stores, how to find shows to enter, particularly good shows to enter, worthwhile places to paint, good teachers, models, marketing ideas, or ways to use technology.

7.  Network.  Meet people who know other people, in order to enlarge your network in the art world.  Getting to the right people, such as gallery owners, curators, or collectors, can be done through a network of friends with similar goals.  Although it might seem that the other artists are your competition, the reality is that many are willing to share ideas and connect you to the right people.  One of the end results of networking is that opportunities emerge from unexpected places. You can find new opportunities for business, commissions, art shows, and exposure of your work to the public.  Making yourself and your business known can help open doors for you.  

You need to get your art in front of an audience.  The idea that you are going to be “discovered” without getting out there and hustling your work is the kind of notion that keeps talented artists from being successful.  Artists usually have only a small following when they begin, consisting primarily of family and friends.  Members of an art group are likely to know people you don’t (and vice versa).  Group exhibitions are a great way to get your work seen not only by more artists, but also by art buyers.  When your work is featured in a group show, take time to thank your audience of regulars, but be sure to spend a lot of time socializing with people in the audience that you don’t now.  Nothing makes a greater impact on an art lover than a positive interaction with the artist.

8.  Participate in art shows.  Being part of a successful art group may give rise to a lot of opportunities that are not available to you as an individual.  Many art galleries, libraries, and local businesses host exhibitions of their local art groups.  In these exhibitions, the only way to participate is by being a member of that group.

Most art groups put on shows that feature the work of its members.  Often, they are not juried, which means that members are automatically allowed to have at least one piece of artwork in the show. This is an excellent way to start putting your art in the public eye and to begin building your resume. The juried art shows are even more important, as their quality is usually higher. Getting to know where the art shows are, what are their requirements, and who may participate in them are all parts of local art group activities.

9.  Volunteer.  Many art groups require members’ participation.  Give your time and effort for your own benefit and that of other group members. You will gain the respect of your fellow artists and they may be willing to help you in return.  With the many activities that happen throughout the year in the group that require volunteers, you will have an opportunity to help arrange shows, observe what happens behind the scenes, and learn what is involved in keeping an art organization going.

10.  Share their stories.  There is no better way to sell your art than to let people know more about you. Your local art group can be a good place to start, where you can share what motivates you to create art, and become known in the local community.  Creating art is an act of self-expression. Look for opportunities to show your art and try to become comfortable talking about it. 

I hope this list helps you see clear benefits to being in a local art group. Of course, this list is only the tip of the iceberg.  There are many more benefits to being in an art group. You may be wise to check out several artist groups before dedicating your time and energy to one.  The key to flourishing in an artist group is finding the right one for you.

Written by tricia alexander · Categorized: Uncategorized

Oct 13 2020

Paul Blieden Show

Please check out the solo photo exhibit of my friend and fellow artist, Paul Blieden.

EXCITING NEWS

I just updated my online virtual photo show

“CENTER OF LIFE”

Images captured at the 

South Coast Botanical Gardens in Palos Verdes, California

Here’s the show’s link:

https://puhttps://publish.exhibbit.com/gallery/09874854/marble-gallery-33097/

Hint: Press your left button on your mouse and use your mouse to move around the gallery !!

Double click on any image to enlarge any

—

Paul Blieden

www.office-art.com

Written by tricia alexander · Categorized: Uncategorized

Sep 15 2020

New Art in the Store

oil-painting-Mondana-de-Oro-state-park
Montana de Oro State Park

One stop on last month’s car trip to San Rafael, CA, was a visit with two couples I know in San Luis Obispo.  I went plein air painting with Bridget Duffy on Monday and with Harvey Cohon on Tuesday.  Mike hung out with the other spouse in each couple.  What fun! The very next day, fires broke out and any further painting would have been out of the question.  The air quality and visibility became poor.        

Tricia Plein Air Painting with Bridget Duffy at Montana de Oro State Park, CA

Written by tricia alexander · Categorized: Uncategorized

Aug 26 2020

New Painting in the Store

an-oil-painting-titled-morro-bay
a-photo-of-tricia-painting-at-morro-bay
Tricia doing Plein-air at Morro Bay

Why Giving Your Artwork a Title is a Good Idea

Do you title your artwork?  

A reasonable rationale for leaving works untitled, is that viewers are free to interpret the piece based on anywhere their fantasy takes them.  In support of this position, I can acknowledge that I have occasionally been quite impressed with the eloquent response a viewer has expressed to one of my paintings and wish I had had such a profound intention when I painted the piece!  Even so, personally, I’m put off by seeing that a work of art is “Untitled”.  I register that as a failure of imagination.  Yet, once I had the experience of being delighted with a painting, and then, after reading the title, I felt somewhat deflated; turned off by the pedestrian, truly ho-hum sentiment that the title expressed.  I had seen more in the painting. 

a-photo-of-Painting-in-student-experiment

Although there may be reasons for leaving works untitled, there are serious advantages to coming up with a good title (whatever that means; we’ll discuss it later).  According to an article by Alan Bamberger on ArtBusiness.com, “a title always adds value to a work of art”.  I can share a bit of experimental evidence that supports this idea.  I used to teach classes in Research Methods.  One of my college students was an artist who wanted to do his research project on a topic relevant to the art world.  He came up with a small piece of contemporary art that largely consisted of a red and green background, with hints of a nose and lips outlined in black.  There were three experimental conditions, each of which included showing subjects the same painting, in-the-flesh so-to-speak.  Each group of students was shown the painting and told a few things about it.  In the first condition, the painting was titled “No. 3 in Series B”.  In the second condition, the title was “Luscious Lips,” and in the third condition, the title was “Lying Lips”.  The students were asked five questions that involved their responses to the painting and their speculations about it, such as what the price of the painting might be.  None of the responses across the three conditions were significant, except that students in the “Lying Lips” group thought the painting would sell for twice as much as did the students in either the “No. 3 in Series B” or the “Luscious Lips” groups.  Now that’s something to ponder when you are thinking up a title!   

A title gives viewers more information than they would have if the work were to remain untitled.  Titles serve as introductions to your art and provide viewers a glimpse of you as an artist. They may have come across your work by chance, liked what they saw, and become curious about you. Intriguing titles give prospective customers a reason to look further at your body of work.  Strong titles reflect what inspires you to make art, what personal beliefs you have that it represents, what message it is meant to communicate, and why the viewer should look at and think about it. 

A major advantage to titling your work is that people searching the Internet on a specific topic will be able to find it.  Untitled art is not searchable.  The more opportunities you give people to discover your art, the better.  The term “untitled” fails to distinguish one piece of artwork from another.

How to Title Your Art

Artists often wonder how to come up with good titles. There is no denying that giving your work an advantageous title is a tricky business.  Let’s explore 10 factors that make a title add something to your piece.  What follows are some basic guidelines for how to title your art (These tips are substantially reformulated from an article by Alan Bamberger on ArtBusiness.com):

1.  Think of titles as being keywords in a computer search. What are the most important words that describe your artwork? What kinds of words do you use when talking about that piece? These words are useful starting points for excellent titles.

2.  Choose titles that make your art more accessible by hinting at what it is about. Many people don’t like trying to figure out the meaning of artwork. A title gives them a clue as to your intention in creating the masterpiece, as well as a reason to pause and take a closer look.

3.  Consider using titles that provide specific information about the piece. Many people are too embarrassed to ask what untitled art is about, even if they like it. Titles at least give viewers a fighting chance to understand what they’re looking at.

4.  If possible, use titles that have some connection to the visual content or composition of the work as opposed to ones that are completely unrelated to what the art looks like. If a composition has identifiable geographical locations through landmarks, species of plants, animals, people, or objects, you’ll want to consider including those names in your title. That way, your art might come up in search results for those proper names. For example, someone searching for information about the California wineries might find your painting in their search results, and like it so much that they decide to view more of your art, or contact you about purchasing the piece.   

5.  Good titles help people to recognize and appreciate aspects of your art that may not be immediately obvious.  For instance, a figure painting might be about family members or childhood memories. Without a title, viewers would not get the chance to fully experience those aspects of the work that inspired you to create it. Titles help viewers see what you want them to see.  For example, even though I often use friends and family members as models, I usually don’t name my relationship to the person in my title, because I want the viewer to focus on the universal experience of joy a child has in splashing around in a water fountain or a young girl has in going on a walk with her mother.  This is what I want them to see.  

6.  Cryptic titles that do not instantly relate to the composition or subject matter of your art can intrigue the viewers and prompt them to linger a bit longer in front of your artwork, puzzling over the riddle you have supplied to them.  Such titles seduce viewers into taking longer looks, and maybe even asking questions if the artist happens to be available. Unexpected or uncommon titles engage viewers in ways that ordinary titles do not.  Be careful, though. Titles that baffle the viewers may also annoy them.  Allow them to “get” what your title means within a brief span of time.  A famous example of a cryptic title is Rene Magritte’s painting of a pipe.  The title is “The Treachery of Images,” but the sentence in the painting (translated into English) is: “This is not a Pipe” (Instead, it’s a realistic painting of a pipe.)    

7.  Unusual words or phrases tend to attract more interest and attention than common ones. These kinds of titles also have better chances of appearing higher up in search results because of their uniqueness. Be sure that your unusual words relate directly to your art, and do not use them gratuitously or to try and game the system.

8.  Your title for each piece should be different. Not only do viewers appreciate unique titles, but also an array of titles by the same artist, when taken together, can offer the viewer insight into the artist’s perspective, and thus help people connect with the artist’s purpose in producing the work. Having a different title for each piece of your art also maximizes the number of opportunities for your overall body of work to appear in search results.

9.  Gallery owners really like titles, particularly ones that increase viewers’ interest in the art. Plus, explanatory titles make their job easier when it comes to selling your work.  For instance, my landscape painting titles name the exact location, because I realize that the first thing I want to know when I see another artist’s landscape painting is where it was painted. As with artists who have websites, galleries need to list individual works online, in emails, or on price lists, so unique titles avoid confusion.

10. Avoid numerical titles.  Not only do they provide little or no information about the art, but also they can’t be searched.  Similarly, don’t use the same title over and over again followed by letters or numbers to distinguish one work from the next, like Urban Landscape 1, Urban Landscape 2, Urban Landscape 3, and so on.  Doing this limits people’s ability to find your art.

Written by tricia alexander · Categorized: Blog, Opinion · Tagged: Titling

Jul 30 2020

How to Price Your Paintings

Photo-ot-tricia-at-Thousand-Oaks-show

Unfortunately, I have only participated in one art show so far this year.  In the February Thousand Oaks show, my painting “Child’s Play,” was awarded third place.  During a pandemic, no one would be wise to hang out in groups at an art show, sharing food and air particulates.  I feel for our fellow Americans who are in desperate straits.

Making art is about the individual personal creative process, whereas pricing art for sale has to do with what’s happening in the real world where market forces dictate how much things are worth.  What follows is a look at the various things to consider when setting a price on your artwork.  

I believe this is a topic worth discussing, because I have often heard that artists tend to charge ridiculously low prices for their work, and I have noticed this myself.  For example, at a local art show, I spotted a beautifully executed 18×24 watercolor, matted, framed, and of course with glass, selling for $350, some of which would have needed to be paid as a commission.  If that piece was custom-framed, the artist might just about break even.  If her goal was to simply disperse her work into the world, she would probably accomplish that end.  Yet her price could have a killing effect on sales of artists who are trying to make a decent living from their efforts.
     
My former painting teacher, Christopher L. Cook, prices his paintings strictly by size.  Every single painting of his that is the same size is the same price.  He is a young man who is a professional, intending to make a living selling his paintings.  I have been plein air painting with him and have seen him create a painting in 4-5 hours, although he would be likely to tweak it later when back in his studio.  Even his small paintings sell for around $1600.

To some extent, I have adopted Christopher’s strategy, in that I start with the idea of charging the same price for the same-sized paintings.  All of my 11×14 plein air landscapes are priced at $400.  However, if I consider a painting to be one of my best ever, I’ll put a higher price on it, so that if it does sell, I’ll at least have the satisfaction of being well-paid for it.  My single portraits are generally a minimum of $1,000 and double portraits more still.  This greater price is partly because these are larger paintings and take me up to 50 hours to complete.  They are also my best work.    
    
Of course your pricing strategy depends on how much you desire to sell your work as well as how much wall space and storage space you have to keep pieces you don’t sell.  The famous British painter, Joseph Mallord William Turner refused to sell any of his paintings.  He wanted to leave them to the British people as a body of work.  He could afford not to sell his paintings and not to work at anything other than painting.  He had a large house with ample wall space for hanging his “progeny”. 

Another factor to consider is how long it takes you to complete a painting.  It takes me from 20-50 hours, but I have a plein air painter friend who can knock out two paintings in an afternoon.  In the rare cases when I do a plein air painting, I plan to spend four hours “in the field,” but I also take my good camera so that I can snap reference photos to finish up back in my studio.   If I allow myself a mere $15 per hour, and spend 20 hours, that means I would need to charge $300 for an unframed painting (ignoring the cost of materials), but only if I don’t need to pay a gallery commission.  If I were to pay a 50% commission, I would need to charge $600 plus tax, in order to earn a minimum wage.  For this reason, I’m somewhat in sympathy with Turner, in that I’d often rather keep the painting than find myself $300 richer. 

I have placed paintings in galleries that charged anywhere from 10% up to 50%.  I put a higher price on a painting if I am obliged to pay a higher commission.  I had a painting that I wasn’t particularly interested in selling, as I knew it was one of my best, so I put a price tag of $4,000 on it, and it sold anyway.  I only received half of that, so it was marginally worth it to me to part with the piece.  My younger daughter still hasn’t forgiven me for selling it. 

Luckily, I don’t need to make a living selling my paintings, so I think about at what price I would be willing to give them up.  I keep working on my paintings until I like them and can see nothing that needs to be improved or corrected.  As I wrote earlier, if I believe a finished painting is among my best work, I charge more for it.  If I show it in a custom frame especially selected to suit that painting (which I usually do), I add the cost of the frame to the price.  Other materials should also be considered, which could be anywhere from $25 to $150 if the painting size isn’t larger than 18×24. 
     
I’m perfectly happy to sell a giclee to anyone who admires a painting of mine, but who doesn’t have the money to buy the original.  That way, we’re both pleased, as my customer receives an inexpensive version of my painting, and I still have the painting.  The only drawback here is that some of the giclees don’t do the original painting justice.  For example, these days, I like to work on a perfectly smooth surface, yet giclees are always, as far as I know, transferred to canvas, which adds undesirable texture, in my view.  Still, a purchaser of a couple of my giclees called me this morning to let me what great joy he derives from his copies of my work.  Happy ending.     

Written by tricia alexander · Categorized: Blog, Opinion

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