The Plein Air Zone Archieves

     April 2007 The Gallery Scene

Last month we explored some suggestions on how an artist can lay the groundwork for entry into the professional art market. Assuming that you have tested your paintings against your peers by entering some local, regional and national juried exhibitions, and have received some awards and recognition, you may be ready to seek representation in a gallery.

You have to bear in mind that you are competing with thousands of aspiring artists seeking representation in a limited number of galleries. Furthermore, there are few, if any, galleries that are seeking artists. Most galleries that you approach will already have an established stable of artists, and galleries are in the business of making a profit. Wall space costs money, and often galleries view art the way a logger sees “board feet” when he views a forest. And, alas, those days of galleries pulling artists off the streets and making them stars ended in the late 70’s, along with the Texas oil boom.

My intention here is not to discourage you, but to point out that it is important for an aspiring professional artist to be a realist as well as a romantic. In all actuality, each year there are dozens of artists that not only get a foothold, but also establish themselves as players in the art market.

Here are a few things that might help to “grease the wheels” when you go out looking for gallery representation. First and foremost, you must have a good product, tried and tested against your peers. Inclusion in national juried exhibitions with a few awards will greatly add to your credibility when you approach a gallery. Also, signature memberships in major art organizations shows recognition and acceptance by your peers (I am a signature member of the Oil Painters of America, the Pastel Society of America, The National Watercolor Society and a few others – and it hasn’t hurt).

If you consider yourself a professional, then it’s important to present yourself that way. Print some quality business cards, and, if you can, put up a class website with a gallery of your paintings, a brief biography and your “credibility” list (awards, exhibitions, memberships etc.). This tells the universe, and yourself, “I’m a player”. Galleries really do appreciate and understand “professionalism”. If you plan to play the “bohemian artist”, wait until after you’re rich and famous.

 Study the market and pick a gallery where you think your work will fit. For instance, if you are a domestic landscape painter, you may not want to waste your time approaching a gallery that features only European painters and cityscapes. Also, there are galleries that have national reputations and feature only big name artists. Leave them alone. When you’re ready, they’ll come after you.

After you have identified your target gallery, do not go waltzing in unannounced with four paintings under each arm. Gallery owners hate that! Also, if it’s a seasonal gallery (winter/skiing – summer/tourist etc.), make your introduction in the “off” season. Most galleries are busy and will not talk to or add artists during the “high” season. Speak to the director, introduce yourself, hand them a business card and make an appointment for a return presentation. This allows them to schedule you for a more convenient time, when they can devote more attention to your work. Find out exactly what they need: a portfolio, a CD of paintings or original pieces (and how many).

When you return for your appointment, dress nice and look like you are already winning. Bring only what was asked for, but include a brief biography and your credibility list. Be cordial and recognize when the interview has concluded. Galleries get dozens of solicitations each year, and, once again, they really appreciate professionalism. Sometimes that can be the icing on the cake.

I hope this is not the case; however, if you have some early rejections, don’t get discouraged. It has happened to all of us, and it’s not a personal invalidation. The art world is no place for thin-skinned artists. Find out from the gallery director what the objections were, and what suggestions they might have to improve your chances in the future. Take that advice to the bank. All of these experiences will aid you on your road to success.

Next month we will discuss mental attitudes, affirmations and pure intent.

                                 Evolution of a Studio Painting

On-location study (watercolor), painted along the California coast in February.	Studio study (watercolor): planning design, placement and color scheme.
	Click on any painting for a larger view.
Finished painting (18x24 oil)

I’ve heard it said that if you are able to make a living at something that you love, then you never have to work another day in your life. Well, I have to admit that sometimes I do feel a little bit like the cat that ate the canary. For some twenty-five years I’ve been able to forge a livelihood out of some paints, some paper and some canvas, doing something that I would probably have done even if I weren’t getting paid. Quite frankly, there were several years when I essentially wasn’t getting paid. I frequently recollect those leaner years and it helps keep me grounded. I’m now much more appreciative of any small successes that I may have achieved and I can assure you I never take any sale for granted. I mean, how many businesses do you know of where you can grab an inspiration from the ether, turn it into something concrete and source a new line of prosperity that will eventually be shared with the butcher, the baker and the candlestick maker? With all its ups and downs, it’s been a great ride, and if I were to do it over, I’m not sure I would change a thing.

Young artists (and even some not-so-young artists) frequently ask me what steps they can take to become a professional artist and get established in the art world. The answer is not exactly straightforward and simple. If I were to ask twenty-five of my peers how they got from point A to point B in their professional art careers, I would probably receive twenty-five different answers. Nonetheless, I would like to offer some suggestions to anyone out there that might be contemplating a career in fine art, or who may have a child heading in that direction.

First of all, it’s fair to say that I am a representational artist. I’m concerned with interpreting the world around me. I don’t know much about, or particularly care for “non-representational, or “abstract” art. If that is your inclination, you may not find these suggestions useful.

The first and most important thing is to work on and perfect your skills. That will always be the one thing that you have control over. You want your work to be ready when opportunity comes knocking. Look for instruction and criticism at the highest levels. If you are planning to attend a school, I would suggest avoiding college and university art programs. They tend to be non-representational and inclined towards more commercial applications. I speak from experience. I have a BA in Art and I tell people that, despite the degree, I have actually been able to make a living in art. Send your children to The Art Institute in Chicago, or the Art Students League in either New York or Denver. There they can study with real working artists who will teach them to draw, to design and to see. If you are past college age, study with artists whom you respect. Learn what they have to offer, and amalgamate those experiences into something that will become uniquely yours.

Here’s a word of caution. Some well known artists have a particular subject or way of handling paint that is distinctively theirs. It’s attractive, commercial and seductive, and their workshops have spawned literally dozens of clones that want nothing more than to paint exactly like them. I call it “falling in love with the ‘better idea’ syndrome. Avoid that trap! Remember that you were born an “original”, and you don’t want to end up a “copy” and thereby rob the world of an opportunity to hear your own, unique voice.

When you’ve begun to cultivate a product that you feel is competitive, test the waters by entering some juried exhibitions. This is a wonderful way to assess how your work stands up against your peers. I would suggest starting out at a local level and progressing to regional and ultimately national shows. Admittance to these shows gives your work exposure, and enables you to build a resume. Any awards that your paintings might win are just pure “gravy”. All of this builds “credibility”, that all-important intangible that will be of assistance to you when you approach galleries and other venues.

When I started my art career in Santa Fe, New Mexico, I entered several local and regional shows, including the New Mexico State Fair. They had a beautiful gallery and thousands of people would attend the exhibition each year. After being rejected a couple of times, I finally got accepted and eventually began to win awards. Then one year I won the big one – the “George Marks Award of Excellence”. The state of New Mexico purchased the painting, the newspaper covered the event and low and behold a couple of galleries actually approached me and asked me if I would exhibit with them. I began to sell some work and finally had, if not a foot, at least a toe in the door of the art world. It really can work!

In the next newsletter, I will cover approaching galleries.

 Paint on!

February, 2007 -- Location, Location

For the past six years, winter on the Front Range has been a mild affair. This year has proved to be the exception. Cold temperatures and a repetition of snowstorms got me thinking about a retreat to warmer climes. So I phoned my friend, Chuck Mardosz, who is an artist in Colorado Springs, and we decided that a painting trip to the Pacific Coast would be the perfect remedy for cabin fever.

We spent eight days painting in one of my favorite areas – the coastline, from Monterey to the beginning of Big Sur. There’s something almost primordial about standing on jutting rocks and painting, while the wind screams and giant combers crash around you.

We painted on-location every day, and we both managed to complete more than thirty paintings. At the conclusion of the trip, we both agreed that, besides amassing a fine collection of paintings and photographs, we had come away with a much deeper understanding of the machinations of the ocean, and California light. And that “deeper understanding” is the real souvenir that an artist brings home from any painting excursion. I’ve been painting “on-location” for over a quarter of a century. As a young artist, I learned that, if I wanted Nature to unlock her secrets, I would have to pursue those mysteries out in the open air. I’ve painted countless oils, pastels and watercolors out-of-doors, and I feel that those attempts have greatly contributed to my artistic growth. Nonetheless, I still consider myself basically a “studio” painter who, again and again, returns to the “Source” (Nature)  for inspiration, experience and further guidance.

Some of my outdoor paintings are good and some are horrible, but each is a like a short meditation, during which I observe, absorb and experience. I have stacks of sketchbooks from all over the world, and when I pore over them I can still recall the conditions and anecdotes attached to each painting. Without those painting records, I would find the corresponding photos would fall short of being adequate reference material for my studio works.

“Outdoor” painting has now become “en plein air” painting, and what was once “a means to an end” has fashionably become an “end” in itself. Don’t forget that a painting rises and falls on its own merit, and where it’s painted is irrelevant.

A few of my Pacific coast location paintings. Click on any one to see larger.	.

Happy New Year! The month of January offers a perennial opportunity to eliminate some old habits (personal and artistic) and seek some new prospects. It’s about this time that I make my yearly resolution to expand my design parameters, take on new subject matter, find new approaches to old subject matter and generally overhaul my painting technique.

Nothing facilitates this more than diving into my sketchbooks, where I can experiment and take risks, away from prying eyes.  

I was recently looking back through some old sketchbooks and came across a painting from Morocco. I recollected that I had taken some photos of the painting in progress and thought that they might make an appealing demonstration. Let me say, at this point, that I generally hate stopping to take photos in the middle of a painting. It interrupts the tempo and tends to break my concentration. I can tell by the skewed horizon line that I shot these photos pretty hastily and jumped back into the painting. Nevertheless, the procedure might be of interest to you.

This is only one approach to one subject. In a hot, arid climate, like Morocco, I am inclined to work in a more fragmented way, completing smaller passages before moving on to the next. Conversely, in a country like Ireland, with more humidity and a longer drying time, I’m afforded the luxury of working wet into wet over the whole painting, if I choose. The bottom line is that you have to keep your technique flexible and your options open. Take that sketchbook out and expose yourself to various painting conditions. It will keep your eye fresh and force you to add to your arsenal of techniques. After all, the aim of our efforts is growth.

So as we face the new year, let’s all resolve to take some chances, expand our artistic horizons and ensure that this year’s body of work will open new avenues of expression for all of us.

Workshops

Does your watercolor class or society want to host an workshop with Eric Michaels? With a lively and informative style, workshops covering plien air basics, advanced work, or the art of the sketchbook to capture the moment can be tailored to your needs. Contact Eric for more information.