Economics of art

This past week I sold a painting for the highest sum to-date for one of my works. This got me reflecting on the prices and values that society places on art works. My question is why are the prices so high? With most object-De-arts there is little use other than visual pleasure (or disgust). Life does not depend on these items. So why are they perceived as precious?

This is a thought that I have asked my art appreciation students to consider. In class, I taught that the value of a work depends on who the artist is, what his/her intention in making the art was, and what other viewers think about the work. In a broad sense this is true. These are the basic foundations for why critics and the public value a work, and why people would pay 6 million for a Van Gogh. But the real question of why or how these values are place on these objects isn't really answered. Would Van Goghs' sunflowers still fetch such a high price if it was instead painted by Joe Blow? I somehow doubt it.

This is a problem that I have thought about before, and I have no real answer. I don't know if I will ever completely understand this issue, but it is one that I think should be addressed. What are your thoughts? Post them in the comments, and we'll see you next week.

Response to Artist Squatters on NPR

This weeks posting is a response to a radio broadcast on NPR. A link to the full broadcast can be found here. This news piece explained about a situation in Berlin involving a bombed out building from WW II that has been taken over by artists.

The story explains that upon the fall of the Berlin Wall in the late 1980's, a community of artists developed in what was once a large department store. This store had been heavily damaged by allied bombing at the end of WW II, and remained neglected throughout the Cold War due to its close proximity to the Berlin Wall. Eric Westervelt, the NPR reporter, explained how after the wall fell, artists moved in to the building and used it as a makeshift community to create and sell art. They have been doing this for the past 20 years. The reporter went on to describe how the buildings current owners now want to evict the artists and set up a new commercial tourist district on this site. The artists have banded together and are refusing to leave. It's become a legal issue and is set to go to court.

I found this piece interesting, but I do take issue with one thing that Westervelt said. He identified the artists as "squatters," however if you listen closely, the artists have always paid rent. It was a very low rent, but they have always paid their part. I don't necessarily think they could be labeled as squatters.

My second comment relates to something one of the artists interviewed said. Kuri Haran, an artist from Japan said that this was a unique place, but I'm not so sure it is. I know of several cities and towns in the United States that are trying to establish themselves as artist communities. These cities offer artists low interest loans to develop their studios and galleries in what are often historically important examples of American Architecture. The hope is that artists will move in, and bring a vibrant new life to communities that are struggling. As far as I know, these new artist communities have been met with some success. This is very similar to the community established by the artists in Berlin.

I'm not sure the artists should be removed from the building in Berlin. I think the established community of artists could work closely with the buildings owners to create a new environment to work and sell their art. Perhaps the art towns of the United States could serve as an example. If you have comments, leave them below, and I will see you next week.

Southern Illinois Artists Open Competition

This weeks post is about my experience in the Southern Illinois Artists Open Competition and Exhibition (SIOAC). The website for this exhibition can viewed by clicking here.

I'd like to thank the judges and the staff of Cedarhurst for allowing me to compete in this exhibition. Although I didn't win, the display of work was exceptional, and I feel humbled and honored through my participation. I would include some images from the show, but I do not have any. Instead, if you are in or around Mt. Vernon, Illinois I suggest you stop in at the Cedarhusrst Center for the Arts and view the show for yourself. It's very good.

Thats it for this week. Post your comments, and I will respond.

Why don't art schools teach presentation?

As you may recall, I was embroiled in a framing conundrum last week. In case you didn't read last weeks posting (which is most people) I had my work accepted in a fairly prestigious state art competition. The deadline to deliver works was this past Friday (7-31-09). My entries were of an unusual size and required special order frames. I had prepared for this; I placed my order at the beginning of July. However they weren't delivered as of last week. I went into panic mode and began looking at alternate framing methods. Last weeks posting gave a pretty good indication of my frustrations. This weeks posting is all about the aftermath. The images below illustrate the state of my studio area post-framing mode.


























As you can see, it's quite a mess. I was working on constructing frames as soon as I got off work, around 5PM, well into the night. In the end my frames arrived Friday afternoon, and the museum hosting the competition agreed to allow me to deliver my works on Saturday. If they hadn't allowed me to do this, I'm not sure what I would have done.

All this lead me to reflect on my art school experiences. I was never taught about presentation. My classes covered techniques, styles, different types of media, and plenty of art history. However, presentation of our work was something that was never really discussed. Now, having taught art classes at two different colleges and familiarizing myself with art school curricula I have to ask; why is presentation not central to the program? As far as I know this is not taught in any art school. I think this is an interesting question. I will be researching this, and I may post what I find out. If any of you have an opinion, or are knowledgeable on this subject please leave your comments. I hope to do a follow-up on this issue in the future. See you next week.

Framing your work

My work has recently been accepted for exhibition in a fairly prestigious state-wide competition. I am very excited about this. To prepare for this, I had to get my work framed. The paintings in question are rather large and require larger-than-standard frames. I therefore, placed my order with Frame USA in early July, thinking they would be here well before the deadline to deliver the works. That deadline is now upon me, and the frames are not here. After a conversation with the company, I was informed that the frames are not even shipping until tomorrow. The photo below should indicate just how this makes me feel.



I am further enraged, because after I learned my frames have not yet shipped (and will in fact arrive too late to be of any use ) I cannot cancel or return the merchandise. I am crafting my own frames made of wood, and hoping they will look halfway decent. This has been my unfavorable experience with Frame USA. I would be interested to hear other experiences with this company, so if you have dealt with them, leave your story in the comments. As always see you next week.

Art Show at Southern Illinois University

A friend of mine (Luca Cruzat) recently had a joint exhibition of her work with another artist in the Vergette Gallery on the campus of Southern Illinois University. I attended the reception for this show on Friday. I enjoyed the display very much, and will use this weeks post to reflect on what I saw.

Luca is a printmaker. Printmaking is an art process that is not for me. The few times I have decided to make a print I rely on one of two methods. These methods include lino-cuts and collograph techniques. I was therefore very excited when I discovered that Luca had done a series of prints using the collograph technique.

If you don't know, the collograph technique is one that prints an image from a variety of objects assembled together in a composition. This may include bits of paper, coins, string, or just about any sort of flat object that can be sealed to the surface of a board, and run through a printing press. I asked Luca how she made her images and she explained that she used paper and thread. She said that thread holds the ink prior to transfer of the image better than the paper. She therefore sewed or stitched thread to the paper to help outline the figures, and complete her image. The result was fantastic. Below are some images from the show. The black and white is the collograph by Luca.















More examples of her work, and upcoming exhibitions can be found here. I am interested in your thoughts about printmaking, particularity using the collograph technique. Leave your comments below and thanks for reading.

Do Climate and environment affect the artist?

The other day I was asked if I thought the environment and climate in which an artist works affects the work produced by that artist. I think this is an interesting question, and it's one I've been mulling over for a while. I will provide my answer, but I would be very interested in what you, the readers (Dawn) think.

In my opinion, the environment and climate in which an artist works has an indirect affect on the work produced. I say this because the environment will contribute to the mood of the artist, and this will in turn affect the outcome of the work. I have two stories to back this up.

When I was in Scotland, I met an artist from the United States who had spent the first six months (this was early June) living and working in Scotland. He was having an exhibition of his work from that six month period. The work from late February had a particularity somber palette. The subject matter also took on a drastically morbid character. When asked about this, he commented that at that time of year (Scotland is further North than any of the contiguous States)the sun sets at 2:30 0r 3:00 or something. He said it was always dark, and he was sick of it. His painting strongly reflected his mood.

Story number two. When I was in art school I began as a ceramics major. I later switched to 2-D media for several reasons. One of those reasons however, was the environment of the classroom where ceramics were taught. There were very few windows, and of these they only let in a minimum amount of light. It was dank, all the walls were gray cinder block, and it was near the blacksmith studios, so there were a number of air filter stacks from all the fires used to shape and bend metal. It was a rather unpleasant place to spend any period of time. This environment shaped my mood, and my work suffered because if it. I had to get out of there, so I switched specializations.

So there you have it. Two stories about environment affecting the work artists produce. I am very interested in your thoughts. So leave your comments in the comment section, and I will see you next week.