In an English Garden

A big project is finished and ready to deliver this week.  It is a companion piece to a peony and butterfly piece I did a number of years ago.  They are both 44" tall and In an English Garden will be a gorgeous mate.  The first piece is all rose reds and pinks with butterflies zipping through them in shades of yellows, blues, lilacs and whites, and perched on shades of green leaves and sunlit blooms.  This new piece is a rambling garden of a variety of blue and purple iris, peach and cream lilies, deep green hosta with delicate white blooms, some roses peeking out.  Dragonflies are here and there and a few other surprises as well.

I was asked to do this with the utmost trust that I would do something "just right", and I hope these lovely clients will be as pleased as I am.  That is always the thing, with commission work.  Will the expectations be fulfilled?  Will the artist understand the request?  Will the client be so nervous that the artist feels constrained and indecisive about the end design?  It really all is a delicate balance between them, and often hinges on how much each knows of the other.  The artist, being the artist after all, will have a strong vision of the work colored by her style.  If the client isn't very familiar with that style, or if the artist isn't solid in a particular style, the visions can be drastically different - sometimes not even in the same park.  The client may have a strong vision too - perhaps something he seen in a photograph or a place visited, a memory.  But if the client isn't able to tell the artist some particulars about that vision - something beyond a color palette or medium for example - then there's a good chance that a problem may arise.

How do we avoid such a mishap?  Artists need to be certain that the client understands her style and has seen several examples, preferably in the flesh as well as in the portfolio.  And I believe the artist should ask many questions - questions dealing with the more subtle aspects of the request - questions like, what is the angle from which you will view my work?  What other things are in the peripheral view?  What other artwork is near?  What is the overall "feel" you are wanting to create for that space?  Conversation that is more ephemeral perhaps, but the answers may get to a deeper place from which the client may clarify his expectations.  If we take a little extra time to distinguish these things, I think commission work can be exciting and very satisfying for both the artist and the client.

Then, every once in while, some wonderful people will say to you, "Do what you think is best - we love your work!"

Detail

In an English Garden

another view

another view

another view

and another

I can't decide which I like best!

Love Things Italian?

This is Liana Sofia Tumino's latest video showing the inspiration behind the incredible real frescos she creates.  It's a marvelous mix of music, art, dance and love!

Sketches

Working on smaller and more casual pieces now - somehow the summer heat and humidity make me want to work quicker and on paper - perhaps the fan blowing on large pieces makes for problems with proper drying of the highly textured work I usually do.  Whatever it is, it's a nice change for me, and I hope interesting to you.  I am not a fan of highly developed portraiture - I think I lived with enough of those in my childhood - or perhaps it's just the times that make me want to see work that is more in the matrix somehow.

Girl With Red Scarf ©Whitney Peckman 2011

CreAtive Sparx in McCall, ID

Registration is now open for all the classes and workshops at this exciting ART week in McCall, ID - Syed will be teaching glass fusing and his newest multi-layered work will be on exhibit; Ken Newman has three full days of in-depth sculpting; Deb Newman will be offering a class in social media for artists; Deb Fachin is offering a special class for teachers - and there is so much more!  Time is short - check us out and please forward this to your friends - we don't want anyone to miss out!  See you in beautiful Idaho in July!

A Week of CreAtive Sparx in McCall, ID This Summer!

We are all so excited to be participating in the first summer of art events at the brand new McCall Art & Commerce Center in McCall, ID!  

Classes, events, exhibits and open studio time - something for everyone!

Don't miss the Art & Wine Pairing because it's a  delectable, delightful and delicious way to tickle your tongue and your eye!

The CreAtive Sparx 20/20 Vision will let you peek into the hearts, minds and souls of some artists in a stimulating and unusual way!

Visit the exhibit in the Gallery and see sculptures, paintings, glass, pottery, jewelry...and maybe even some surprises!

Join us for this inaugural event at MACC (and if you are a member, don't forget to ask for the discount on the class fees).

Here is the flyer for a week of great workshops and events we are offering in McCall, ID at the new and very beautiful McCall Art + Commerce Complex (MACC) this summer the week of July 18-25.  The idea for this began at the Celebration of Fine Art this past winter.  A group of us, the NW Salon, who have been working cooperatively for a few years to enhance our audience's art experience, generated CreAtive sparx when Donna and Dave Armstrong told us about MACC.  Since all of us either live in or have lived in the northwest, we loved the idea of spending a week bringing our ideas, our work, and our energy to beautiful ID.  We are equally excited to join with McCall artists in the development of what may become the Art Event of many summers to come.  So, join us!  Besides the classes/workshops here, there are other curiously delightful events for you to attend....I will post more about these soon, so keep in touch!

And check this link out for other classes held on the campus all summer long - www.mccallarts.org

As for our road trip on the way to McCall - it's going to be a busy summer.  We start out in Chicago where Syed has a show over the July 4th weekend.  I'm taking a few days to visit family in Iowa City and a trip to the University art galleries and the wonderful  Chait Galleries Downtown where Syed has his work.  Then it's back in the van to Vail for the Art On the Rockies show, July 9-10.  We haven't been to Vail in several years, so this trip to the Pacific NW provided a timely opportunity to spend a couple of days in the Rockies again.  Then we go all the way to Salem, OR for the Salem Art Festival, a show we did many years ago - I love this festival!  They have great music and it's the annual fund raiser for their Art Association - so if you're in the area (and who wouldn't want to be in Oregon in the summer?), join us.

And finally we get to McCall July 18 for a meet-up with a bunch of great, inventive artists for a week of fun - teaching, sharing, sipping, tasting!

Is THAT Art? An Answer

I love this question.  I love it when I hear it.  I love it when I ask it.  Because if something elicits that question, it has intrinsic value.  The work by Argentinian artist Marta Minujin written about in Escape Into Life blog post begged the question.  In my opinion, the answer is a resounding YES.  I hope you'll take a look at this large tower made from books, read about the cultural connections and meanings and finally, the plans for it's deconstruction when the exhibit is over.  


If every piece of art was as deeply thought out as this one, as environmentally conscious in regards to both materials used in the creation as well as spiritually conscious in the universal importance in it being archival, we could all enjoy the question, "Is THAT art?"


Would I feel the same if it had been done in metals or stone, relatively "permanent" for ages to come?  I don't think so.  Its impermanence is part of the spirituality, or universality, of memory, paths of understanding, and need for connection and at the same time asks, by virtue of its temporality, to be remembered, recalled, carried into the future consciousness.


What do you think?

Website Update

Finally updated my website www.whitneypeckman.com, so hope you'll take a peek - time to build inventory after our great winter - so thanks everyone for your continued support of my work.

Artists and Commissions

Note: This is a post I wrote for NWSalon.com and was originally published there in Mar 2011.  I am reprinting it here as a response to a Twitter stream.  Thanks . Whitney

For a variety of reasons, some artists dislike working on this basis, preferring instead to sell only what has already been completed.  Others of us enjoy the challenge and the conversation to balance and coordinate our ideas with that of our client.

Final touches

What contributes to getting a commission? (And here I am speaking only of private commissions, not public or corporate ones.)

Listening is the first and, I think, most critical.  We listen for that which impresses the viewer, because, after all, it has to be more than just a “that’s nice” reaction to our work to interest them in a specially made piece.  Each artist has a gut feeling about the strength of his own work.  Is it born out by the viewer?  Or, can you hear a potential problem – perhaps, “I love that piece, but not the colors” or “Beautiful colors! Too big, though.”  There are hesitations to listen for, and tones, and casual comments – “Hmmmmm” and “That would look great in your bathroom, Alice,” and “Good colors, but not so much for the bedroom, do you think, Honey?” or “Hmmmm, not quite."

So is a positive comment always a positive?  And is a negative one always a negative?  No, to both questions.

Loving someone’s work doesn’t automatically mean anything.  It is, however, an invitation to ask your own questions.  “What is it about the piece that you most like?”  (Appreciate that they may be in awe and inclined to burst out with “Everything!” but encourage them to be more specific.)  Now here is the place where sales books tell you to begin inquiring about their home and “qualifying” them.  I HATE this approach. I’m not a car salesman.  This person who is standing in your booth or studio or gallery is most likely responding to your work on an emotional level.  For me, that is the signal that we have a place where we might relate to one another. Instead of assessing her shoes and asking, “Do you collect original art?” I might ask if she gardens (because she is staring at my garden painting) or “Are you from here?  Are you watching for the hummingbirds to come back?” (because I have some in another piece).  Take a few moments to find what moves this person, because what moves her in her role as viewer, as potential client, is what may move you, motivate you, inspire you.  A piece of your self, your being, your soul can make a difference in a client’s life.  Learning a bit about who she is as an individual can open the door to the possibility of a long and successful artist/client relationship.  Finding spaces for relatedness connects both ourselves and our art to other human beings.  Relatedness never happens in isolation 

Similarly, “Nice colors, but it won’t work,” may sound negative, but in actuality is not at all.  Acknowledging their appreciation of your colors is the open door.  “Thanks – I’m glad you like my colors!  But what is it that won’t work?  I’m always interested in people’s difficult spaces.”  Your interest in their space is personal and caring.  I have had this conversation many times in my career.  Sometimes the resolution I see requires a different kind of artwork, and I am able to suggest artists who might be a better fit.  Often it is just an issue of position or shape or pattern – basic design principles of which they may not have a working knowledge.  It’s a great feeling to see their eyes light up when they see the possibility of one of my suggestions working for them.  And what better way to develop trust but to help in a generous manner without agenda.  If you don’t get the immediate sale, I guarantee that you will see the benefit down the line as they tell their friends all about you and your work.”

After you have developed the seeds of a relationship with your potential client, what comes next? 

Instead of announcing that you do a lot of commission work, why not suggest looking at their problem space together – maybe try a few pieces in the space to see what kinds of shapes/colors/sizes might work?  “Perhaps we’ll come up with some fresh ideas – then we can go from there.  I’d love to be part of the solution!”

Artists have good eyes.  That means if we use them, it is easy for us to take in a great deal of visual information, assimilate it, and generate many possibilities to solve spatial and design problems.  Are you approaching commission work with your eyes wide open, or are you just looking for a quick sale – no fuss, no muss?  It’s perfectly ok not to be interested or inspired by collaborating with the client.  If this is the case, just be clear about it within your own mind, be generous – give the client some artist’s names who might better be able to meet their needs.  Be clear about boundary lines –“I can incorporate this idea of yours, but not that.”  But, if you like this type of problem solving, then enter their home, eyes open to the myriad of details in their surroundings.  Why is the problem area a problem?  Listen to why they think it’s a problem.  Are they looking at your sculptures which are clearly not going to fit into the 4” deep niche?  Should they be considering a painting or shallow wall sculpture instead?  Can you see a place where they might be able to place your large sculpture?  Suggest it.  Perhaps you are a painter and they like garden paintings but have four broad-view garden paintings already in the room.  Suggest to them that perhaps they would like to consider a close up of the iris – one bloom in fine detail – to set off their wonderful collection of garden paintings.  Do you hate the other paintings?  Do not be insincere, but look at their home from their viewpoint.  After all, you are not the one living in the home.  They have paid you the complement of loving your work.  Respect their other choices.

Listening. Seeing the fun in problem solving. Respecting your audience.  Require 50% deposits and gurantee your work (they will be less anxious and, after thirty years of being an artist, I’ve never had to return anyone’s deposit).

Assessing Value: More Than “I Know What I Like”

In my post “Pricing Artwork: Thinking, Making, Marketing + Vision.” I addressed value and pricing from the artist’s perspective.  Today I’d like to approach value and price from the collector’s perspective and talk about Intention, the Educated Buyer, Experience & Knowledge, and Tradition vs. Trendy.

To begin, let’s distinguish Intention. Are you someone wishing to purchase a casual piece of art, perhaps something to brighten the breakfast area or children’s bedroom, or are you someone looking for a piece that you expect to own for a long time and place in a main living area?  Perhaps you are both. 

Unless we are buying solely for investment purposes, most of us buy art because we love the piece or the final look of our space when it is in place. Rarely does one have the luxury of not considering their budget, so Intention, is something to be intentionally clear about.

If you are going to buy a casual piece and you know your budget, you may easily find just what you want in the giclee of a fine original that would otherwise be too expensive for the end use. Perhaps you would find a good choice of an original piece at a student show (where the prices may reflect promise but lack of experience & skill), or at a weekend street show (where there is usually a wide range of price and quality available). There are many retail stores selling inexpensive prints framed and ready to hang.  Of these sources, only in the choice of student work is there the possibility of an increase in value as time goes on, but it is very uncertain at best. 

If, on the other hand, you are looking to make a more serious investment in art (and here I am not speaking about the upper echelon of collector who may be buying Famous Dead Men art, but of the person who loves art, wants to buy work that has lasting value, is well crafted and which he/she feels is good value for the money.  If you are this person, there may be some homework to do before you decide on a purchase.  Homework? For art, you ask?  Well, would you run out and buy a car or washer, a computer or flat screen without doing your homework first?  So, yes, there is homework if you want to be a confident and educated buyer.

Years ago, traveling in Italy, I fell head over heels in love with olive oil.  Returning home, I found myself disappointed in the olive oil I would buy in the supermarkets.  It just never tasted the same.  Then, there were not the myriad choices, only two or three brands and not the interest in olive oil as a health food as there is now.  My disappointed palette adjusted.  It wasn’t until a good friend gave me some olive oil she had brought from her mother’s village in Calabria that I remembered the glorious taste of Italy.  My friend began to educate me on the differences in olive oil.  Like the distinctions in fine wines, an olive oil can make or break a salad of fresh spring greens or crusty rustico bread.  It is the same with art. 

It doesn’t matter if you are choosing an oil painting in the traditional style, a contemporary abstract, a mixed media assemblage, mono-print or serigraph, ink drawing or photography, glasswork, bronze, wood, or clay sculpture.  What does matter is how much you know about the medium you want to purchase, and what determines the value, both in the marketplace and by your own personal estimation.  Without having a clear idea of how value is assessed in the marketplace, how can you know if you are paying a fair price?  And how can you feel good about the price you pay if you don’t know to what you, personally, assign value?

A word about market value: schizophrenic.  Are you in New York?  Salisbury, NC?  Boise, ID? Santa Fe? Minneapolis or Detroit, Paris, Hong Kong or Killeen, TX? Or are you on the internet, Craig’s List, Sotheby’s auction or your local flea market?  If you are buying original art, not commercial reproductions or work produced in mass for a commercial market such as many quite large “cottage industries” produce, you would be well advised to understand that where you are buying the work can be almost as important as what you buy.  Are you buying directly from the artist or through a gallery? And what is the relationship between the artist and the gallery?  Does the artist undercut their galleries? Have you seen the artist making deals with other buyers or is he/she firm and consistent with pricing?  Does the artist or the gallery have sales where the prices are slashed? Does the gallery have an open relationship with their artists such as would enable you to meet the artist or does the gallery want to keep you and the artist as far apart as possible?  Do you think your conversations with the artist or the gallery about pricing are straightforward or manipulative, suggestive, or uncomfortable?  These are subjective questions, but I believe they are questions worth asking yourself as you shop for art.  You may be a person who is comfortable with dickering and dealing.  You may not be.  Either is ok.  It’s only important that you understand who you are and what you expect, accept, or refuse in terms of making purchases.

Other more obvious factors of which you want to be aware are high pressure sales techniques, half-truths, exaggerations and outright attempts to disguise or mislead the buyer.  These things seem ubiquitous in our consumer culture.  The pitfalls can be avoided with a little time doing your homework.

Let’s take a look at what makes an educated buyer in regards to art.  I am assuming you don’t want to be taken advantage of.  I certainly don’t!  So, if you know, for example, that you will be looking for a painting for your home, perhaps learning about materials and techniques would be a good place to start. 

Experience and knowledge will cultivate a discerning eye, making you a wiser collector. What is, in 2011, the intrinsic value of oil versus watercolor or acrylic?  In certain parts of the country one sees more of one than the other.  Does that availability have anything to do with the tradition of the area, i.e. traditional east coast and southern towns value oil most?  I see more acrylic used in Chicago, LA and Florida.  Is it because there seems to be more contemporary and abstract work shown in galleries there? Have you been told that it is more difficult to paint in one medium than the other?  I have often been told that of watercolor.  There are so many factors to consider in assessing skill that I find it hard to believe one type of paint should affect the value.  Perhaps then, it’s time for us to find out what other things we should look for.  Drawing ability, composition, color development, brush or palette strokes, and certainly expression are some of these.  Does the work look stiff, is the composition awkward but the color luscious?  Is the draftsmanship of the body graceful but the expression on the face stiff and unnatural?  Are one or two of the artist’s works quite wonderful but the remaining six only mediocre? Lots of questions often lead to more questions and the more questions you ask yourself, the greater the opportunity for you to learn what makes an educated buyer. 

Now that you have decided to better educate yourself about techniques, artists, galleries and materials you can begin to refine your choices of what to actually purchase.  Hopefully you have found a reputable gallery with a sales staff trained in techniques and styles so that when you question a work, you will get an honest answer about the difference, for example, between traditionally done frescos and work which is fresco-like; between a “print” that is a limited edition stone-ground litho and a giclee print of a painting; between gas fired pottery and wood fired pottery; between encaustic paintings and paintings with an encaustic finish.

Learning the why of all these distinctions is what will help you assign value to work.  The distinctions will have certain value in the marketplace.  They may also have a lesser or greater value for you personally.  For example, many years ago I wove a type of tapestry work.  There are traditionally woven tapestries done in the Aubusson or Gobelin style and there are contemporary weaving styles such as the Theo Moorman technique which can result in a painterly finished piece similar in some ways to traditional work.  If you are a textile traditionalist you might assign a greater value to the traditionally woven work, regardless of the finished image.  Every technique and style can be distinguished in a similar way.  A collector may be a person who only buys Aubusson style work.  Another collector may buy only textile work and can encompass traditional and contemporary.

So, how does one decide between contemporary work and traditional work?  Is one more valuable than the other?  Again, think about your intention as a buyer.  Most likely you know immediately if you prefer contemporary work over traditional work, or if you prefer transitional work.  It doesn’t matter – tradition or trendy – or something in between.  The same steps apply – educate yourself as a buyer – ask questions – form opinions based on knowledge of medium, style, skill, emotion and existing market value.  You’ll be headed in the right direction and on an exciting road!

Artists Working with Commissions

Final touches on Loretta's Poppies - a 2011 commissioned work

Our show in AZ, the Celebration of Fine Art, is coming to a close on Mar. 27.  Many of the artists are finishing up commission work to be delivered by the closing.  Others are just finalizing designs on to be completed during the year.

For a variety of reasons, some artists dislike working on this basis, preferring instead to sell only what has already been completed.  Others of us enjoy the challenge and the conversation to balance and coordinate our ideas with that of our client.

What contributes to getting a commission? (And here I am speaking only of private commissions, not public or corporate ones.)

Final touches

Listening is the first and, I think, most critical factor.  We listen for that which impresses the viewer, because, after all, it has to be more than just a “that’s nice” reaction to our work to interest them in a specially made piece.  Each artist has a gut feeling about the strength of his own work.  Is it born out by the viewer?  Or, can you hear a potential problem – perhaps, “I love that piece, but not the colors” or “Beautiful colors! Too big, though.”  There are hesitations to listen for, and tones, and casual comments – “Hmmmmm” and “That would look great in your bathroom, Alice,” and “Good colors, but not so much for the bedroom, do you think, Honey?” or “Hmmmm, not quite.”

So is a positive comment always a positive?  And is a negative one always a negative?  No, to both questions.

Loving someone’s work doesn’t automatically mean anything.  It is, however, an invitation to ask your own questions.  “What is it about the piece that you most like?”  (Appreciate that they may be in awe and inclined to burst out with “Everything!” but encourage them to be more specific.)  Now here is the place where sales books tell you to begin inquiring about their home and “qualifying” them.  I HATE this approach. I’m not a car salesman.  This person who is standing in your booth or studio or gallery is most likely responding to your work on an emotional level.  For me, that is the signal that we have a place where we might relate to one another. Instead of assessing her shoes and asking, “Do you collect original art?” I might ask if she gardens (because she is staring at my garden painting) or “Are you from here?  Are you watching for the hummingbirds to come back?” (because I have some in another piece).  

Take a few moments to find what moves this person, because what moves her in her role as viewer, as potential client, is what may move you, motivate you, inspire you.  A piece of your self, your being, your soul can make a difference in a client’s life.  Learning a bit about who she is as an individual can open the door to the possibility of a long and successful artist/client relationship.  Finding spaces for relatedness connects both ourselves and our art to other human beings.  Relatedness never happens in isolation

Similarly, “Nice colors, but it won’t work,” may sound negative, but in actuality is not at all.  Acknowledging their appreciation of your colors is the open door.  “Thanks – I’m glad you like my colors!  But what is it that won’t work?  I’m always interested in people’s difficult spaces.”  Your interest in their space is personal and caring.  I have had this conversation many times in my career.  Sometimes the resolution I see requires a different kind of artwork, and I am able to suggest artists who might be a better fit.  Often it is just an issue of position or shape or pattern – basic design principles of which they may not have a working knowledge.  It’s a great feeling to see their eyes light up when they see the possibility of one of my suggestions working for them.  And what better way to develop trust but to help in a generous manner without agenda.  If you don’t get the immediate sale, I guarantee that you will see the benefit down the line as they tell their friends all about you and your work.

After you have developed the seeds of a relationship with your potential client, what comes next? 

Instead of announcing that you do a lot of commission work, why not suggest looking at their problem space together – maybe try a few pieces in the space to see what kinds of shapes/colors/sizes might work?  “Perhaps we’ll come up with some fresh ideas – then we can go from there.  I’d love to be part of the solution!”

Artists have good eyes.  That means if we use them, it is easy for us to take in a great deal of visual information, assimilate it, and generate many possibilities to solve spatial and design problems.  Are you approaching commission work with your eyes wide open, or are you just looking for a quick sale – no fuss, no muss?  It’s perfectly ok not to be interested or inspired by collaborating with the client.  If this is the case, just be clear about it within your own mind, be generous – give the client some artist’s names who might better be able to meet their needs.  Be clear about boundary lines –“I can incorporate this idea of yours, but not that.”  

But, if you like this type of problem solving, then enter their home, eyes open to the myriad of details in their surroundings.  Why is the problem area a problem?  Listen to why they think it’s a problem.  Are they looking at your sculptures which are clearly not going to fit into the 4” deep niche?  Should they be considering a painting or shallow wall sculpture instead?  Can you see a place where they might be able to place your large sculpture?  Suggest it.  Perhaps you are a painter and they like garden paintings but have four broad-view garden paintings already in the room.  Suggest to them that perhaps they would like to consider a close up of the iris – one bloom in fine detail – to set off their wonderful collection of garden paintings.  Do you hate the other paintings?  Do not be insincere, but look at their home from their viewpoint.  After all, you are not the one living in the home.  They have paid you the compliment of loving your work.  Respect their other choices.

Listening. Seeing the fun in problem solving. Respecting your audience. That's my mix for getting commission work.  Require 50% deposits and gurantee your work (they will be less anxious and, after thirty years of being an artist, I’ve never had to return anyone’s deposit).

Some Artist's Views On Pricing

Here's a ink to the comments on my blog post that was reprinted in FineArtViews -  http://bit.ly/hN1RE3.  This is an excellent site to subscribe to for all kinds of info art-related.

Pricing Artwork/Thinking, Making, Marketing+Vision

It has always felt like an oxymoron to fuse money and creativity into one word - price.  As in, "What is the price of your painting?"  What is the price of an artist's work, how is it determined, what factors does it include, is it fair, and above all, what does it mean?  What does it mean to the audience?  What does it mean to the artist?


Let's try to sort this out.


Selling art isn't any different than selling widgets.  Or is it?  Art is not a manufactured good - not plastic bowls or wood screws or tubes of toothpaste.  Art is, for discussion purposes here, one something envisioned, made and brought to market by one person.  Often the source materials are made or harvested by that same person.  The advertising and shipping done by that person.  How is that time tracked and costed out so as to make sense for the artist doing all this work?  How does one person, who is also the administrative assistant, schedule and account for such a varied work load? And how does one price materials used in the work which might be irreplaceable, necessitating a new design approach for the next work?  What about accounting for materials which, in and of themselves, take additional time to ready for use, such as the painter who mixes his/her own pigments or the jeweler who also cuts his/her own stones?  These are some of the factors that most art buyers aren't even aware of when they come to the studio or look at a painting or sculpture, pot or bracelet, custom made jacket or assemblage of hand made papers.  The art is what they come to see, and it is usually all they see.  Art bears its own ambiance. No artist wishing to sell his/her work would bore a client with the nuts and bolts of their business.

And what of the time it takes to think through the vision of the work before it ever comes to production? Time sketching could be assigned a specific value.  What about time thinking?  Artists hear, over and over, "That's amazing!  How do you even come up with these ideas?"  The answer is, that's how artist's think.  Speaking personally, for myself, I see things very clearly in my mind's eye, but that doesn't happen in a flash.  I think about something until it makes itself into a clear visual in my mind.  Only then am I ready to manifest it in clay or paint.  What is the assigned value of that thinking?  Only the artist can assign that value and assign it he/she must, even in just the very broadest sense, because the thinking is the first of the three major components of pricing artwork. Thinking. Making. Marketing.  I intentionally do not use the word "creating" because I believe too many people have creating conflated with making.

The making of a work of art is the easiest part to keep track of.  Many artists work a consistent number of hours a day.  But when a client asks "How long did it take you to make that?", the question must be understood to mean more than just the time the potter spends at the wheel and the glazing pot.  It must include the thinking and the marketing as well.  And the artist's responsibility is to explain to the uninitiated client the three factors included in bringing this gorgeous, unique pot to this pedestal in this studio at this moment in time.

Assigning value to marketing is the most difficult of all.  It is also inclusive of the widest range of variables - documenting photographs, show application fees, show display fees, travel and accommodation to shows, vehicle/trailer expenses, advertising (print ads, business cards & stationary, videos, brochures), business fees & licenses, exhibition booths (tents, walls, pedestals, lighting, flooring),
and the time spent getting to, being at, and returning from shows (because this is time that is not spent in the studio producing).


Ask any business man and my bet is that he will tell you all of this plus more that I've either failed to recognize or note!  But how many people looking at that lyrical painting or simple, perfect stone sculpture will think of these things when they look at the price?

These days we've all become accustomed to discounted prices before the goods have barely hit the shelves.  Can the buyer be blamed for asking, "Is that your best price?"  Perhaps not.  But if it offends the artist, then they bear the responsibility of saying, "Yes, it is" or be prepared to bargain.  Being prepared to bargain means that the artist must know what the price on the work means to him, and be confident in that meaning.

So, what then, beyond the Thinking, Making, and Marketing, affects the price of an artwork?  What is the single thing that makes this worth more than that?

To me, as an artist, it is the Vision and how close the work comes to that Vision.  And that equals meaning for me.  When I create a piece which meets the expectations I have when I begin to make my Vision manifest, I have succeeded by all measure of the word.  That success carries value and that value is not negotiable.

What does price mean to you as a buyer?  As an artist?

Art and Sales at the Celebration of Fine Art

Congratulations to Donna Bernstein on the sale of her large diptych!




 








And now, let me introduce a fellow artist, Mark Carroll, sculptor of metals, stone, wood, and whatever else he has in his hands!  Mark began the Celebration of Fine Art while living in Buffalo, NY, so is it any surprise that he now lives full time in AZ?  His powerful stone and metal combinations would enhance both traditional as well as contemporary surroundings.  Head to the NW corner of the tent and you will pass through Mark's studio.  His work is both inside the tent and out in the courtyard.

Diamonds & Reticulated Silver & Gold!

Come along with me as I continue featuring Celebration of Fine Art artists, art and happenings in the Big White Tent at the Loop 101 and Scottsdale Rd, here in Scottsdale, AZ where the sun is shining and the temps headed towards a delicious 74 degrees.

Donna Armstrong, in the NW Salon of the Celebration, is a jeweler and a gemologist.  You'll know this as soon as you ask her about the difference between diamonds!  The first shot is of a London Blue Topaz necklace and earrings set in reticulated silver and 14k gold.  The London Blue is the darkest and richest in color of all the topazes. I knew the reticulated look, but what I didn't know is that it is accomplished by texturing the metal with a torch.

The second pic is a custom wedding set that Donna updated for the client, using the client's original wedding stones, but adding the center Ascher cut diamond for a beautiful contemporary design with a nod to the traditional band.  Characteristic of the Ascher cut is the square stone with the corners cut off.

Donna, one of our Idaho artists, has been a jeweler for fifteen years and here in the NW Salon for three.  She works primarily with custom pieces, so...Valentine's Day is coming up........

See you tomorrow.  

Efflorescence and Inspiration from Poetry

"Efflorescence" Series is the name of this innovative new work from Syed.  Multi-layered glass panels inset in etched copper-clad boxes are pregnant with small shards, creating volume and depth of color which delicately shimmers, shifting color as you move across the piece.

Efflorescence - "a period of bloom", "a result of growth and development"- describes both the work and the artist's presence in his studio this year.

 The new "Autumn Sunset" Series is an extension (and may be seen at the Celebration of Fine Art along with the pieces shown here) of the original "Autumn" Series which he has reprised this year with some alterations in the etched copper portions.

Autumn for 2011

This year I had more time in my studio than I usually do.  This is always a gift from the Universe since I would greatly prefer to be there working than anywhere else on the planet (with children, being the only exception).  Coincidentally, I knew I would have a larger studio space at the Celebration.  I'm not sure I can quite describe the feeling of being lost in time and space that I get when lost in my work.  It is something of grace, I think.  The result is the major work this year - two large figurative pieces - and if you visit the show, I would be happy to tell you about them, as they have their own "stories", their "birth" and their "history".  

I Know Why the Caged Bird Sings/Madonna of the Sparrows

I Know Why the Caged Bird Sings/Letters from Burma

I had intended to introduce you today to Donna Armstrong's jewelry but I was not able to get her pictures yesterday....but check in tomorrow for simple elegance!

All text and images on this post copywrited 2011 Whitney Peckman

The Best Laid Plans

My good intentions of posting every day ran right up against the world's worst cold!  I'm upright, finally, so here is yesterday's (and Opening Day's) post - a bit late but with pics.

Here is an overview of the NW Salon's area of the Celebration of Fine Art - starting with Donna Bernstein from Idaho and in her 2nd year at CoFA and in the NW Salon.  We love Donna's zen approach to equine art - very clean and powerful, capturing the spirit of movement and grace.



And this is her husband, Lex, who built her exquisite studio look.  Lex is always ready to lend any of us a hand - maintaining his good humor throughout (not an easy task surrounded by a bunch of perfectionist and opinionated artists) - and, if you want to talk soccer - Lex is your guy.

Directly next to Donna, and always well behaved, is Emma (that would be Emma the Dog).  Deb, who is our tech woman extraordinaire and wife of Ken Newman, a most remarkable sculptor who works primarily in wood and bronze, creating important pieces of commentary on nature and man.

Our newest artist to join the NW Salon, Steve Taylor, is in his 2nd year at CoFA and we are so glad to have him in our "neighborhood" - not only does Steve paint sensitive portraiture, he and his wife, Janelle, also make the best chicken soup on the planet - I know this personally because they came to my rescue with their remedy for the cold that laid me low for a couple of days (thanks!!).

Michael Jones, our steel sculptor and encylopedia of Native American symbology, has made both the inside and outside of the tent into a studio replete with gates, totems, and wall pieces.  He and his wife and "red apron lady" (our intrepid sales force at CoFA) Karen, live in Montana in an historic cabin in the mountains.   

So, there you have a taste of 2011 Celebration of Fine Art, and tomorrow I'll post elegant jewelry with very special cut stones, by Donna Armstrong, as well as Syed's and my studio space and some of our newest work.  Hope you'll continue along this journey and forward our link, too!

Just the Beginning...

Good Morning Everyone, and a gorgeous morning it is here in Scottsdale, AZ!  The Celebration of Fine Art opened its doors last night for the opening night party and, though all the artists were breathing hard from the four days of fourteen hours constructing their studios and getting their work hung, the guests seemed only to marvel at the result (and enjoy the delectable offerings of Cafe Laredo).  Seeing old friends/clients who are always interested to see each artist's new work is food for the artists, and the appreciation feels like a real pat on the back for the efforts we make.

I hope to do something a bit different this year with my blog, posting each day about what's happening at the show, but particularly to acquaint you with our artists.  This is my fourteenth year at the show and I have seen so much remarkable work that I wish I had told more people about - now I have this great vehicle to do so.

For now, I'm off to our first official day and to shoot some pics for an overview to share with you tonight!

Celebration of Fine Art - Winner - 2010 Sterling Awards - Micro Business

We are so proud to be a part of this wonderful group. Susan and Jake Potje work all year long to make this event world class and really unique in the world of art shows. If you're in the Scottsdale, AZ area this winter, come visit us - I guarantee you won't be disappointed!

Landscape In Glass: Syed Ahmad-Waterworks Museum, Salisbury, NC

Landscape In Glass: Syed Ahmad-Waterworks Museum, Salisbury, NC

Here are some pictures from Syed's exhibit at the Waterworks Museum.  He will be giving a talk on December 16, at Waterworks.  All of the pieces in this show are sized for the home and may be used individually or in groups, as indicated by the installation at the museum.  Though physically small, the work creates an expanded perception of sea and land when hung with space between.  The clear glass overhangs create wonderful shadows of apparently moving water or air, and the dichroic glass creates movement of its own as the viewer passes by.  This work is both subtle and dynamic.  The show closes on February 7.