I find myself at constant odds with wanting to hide out in my painting studio and wanting to share those creations with the world. The point for me is to continue to create, to live the artist’s life and to define what that life means to me. At times I have become very obsessive about painting, spending night after night improving works, starting new pieces, and reveling in the joy of pure expression. But the time inevitably comes when the work needs to be resolved, its professional presentation complete and the exhibition of those works made available to others.

This is the part in the process that is most crucial in my opinion; art’s function as a tool for the communication of ideas.

You should share!

An artist who never leaves the studio or ventures into the varied opportunities of art exhibition misses the chance for his or her works to speak to the world, effectively silencing his or her own voice. However, some make up any excuse not to display their work. It is true that the experience of interacting with the art world or the public can feel soul-robbing for some; assigning of monetary values to artworks, settling for less than satisfactory exhibition venues and poor reception of one’s works and ideas.

I say, “This is what artists sign up for! Take it all, the good and the bad, the rejections, the less than perfect venues. This is the artist life! Embrace it.

Every facet of the art world from dealer to the paint manufacture, social marketing to self-expression is a necessary component. Many artists have ideals and principles that are very personal to them. These tenets are applied in a manner best suited to the individual artist’s approach. Many artists choose to be represented by reps or consultants, giving them a buffer between themselves and the public except when it comes to exhibition openings, where artist appearances are pretty much mandatory. For these artists this arrangement allows them a measure of separation between the intensely personal process of creation and encountering the less-than-spiritual, commoditized art market.

Can the artist embrace both paradigms?

I wear both hats: the gallery owner and the artist. It truly makes me feel like two different people at times. When I am at the gallery, I am a small business owner, making a living by means of selling original art to collectors. When I’m at home painting, I need my space and isolation to work. I need a specific environment conducive to creative expression. I get frustrated when thoughts of the gallery enter my mind during this time.

I am not a natural salesperson; I don’t have that sales skill. I find it off-putting in this business and counterproductive to my beliefs as an expressive artist. I depend on my audience to develop a connection with the work and express interest in acquiring a painting for personal enjoyment or the enhancement of their living space. When someone enters my gallery I’m not looking to corral him or her into a purchase, nor do I treat him or her as a “sale”. I see people. I feel much more fulfilled when someone tells me which piece is his or her favorite, what he or she sees in the work through his or her own individual interpretation and what feelings and/or emotions are evoked.

Through many means, the public artist can engage the public in his or her community.

I think it all comes down to how the artist chooses to interface with the community. Some stick to advertising and Internet marketing. Others depend on a physical business location or word of mouth to make their connections with their fellow citizens.

Some artists perform public demonstrations to show others their process.

This particular approach is one that I have been very hesitant about. When I first opened Mod-Est Studio Gallery in June 2010 I had planned to utilize the space as a display gallery and as a studio space where people could drop in anytime and watch my ongoing work in progress and witness the process used to create new works. After two years I am still trying to find the courage to paint publicly. I have made up countless excuses why I haven’t followed through on my original plan; not enough space, too messy for a professional gallery, the smell of the paint might annoy neighbors. But finally, I am moving forward and changing the stuffy feel of my gallery space. My contractor is building a custom art workstation with ample storage, that doubles as an office desk, giving me plenty of flexibility to utilize the space for both purposes.

You have to take risks to create opportunities.

In previous blogs I have mentioned how the size of my gallery can sometimes daunt people. Sometimes, upon entering the space, some don’t stay long or they simply poke their head in the door and leave, not wanting to feel scrutinized while perusing, or become worried that they are bothering my (business) work. It is my hope that people will note the “studio” space and that their curiosity about my painting will overcome their apprehension, so that they will enter, watch me work and engage me about my art or process.

Let’s hope this new approach generates additional interest!

Being a small business owner and an artist could be seen as a difficult endeavor to sustain and be successful at, especially in a tough economy. Who could fault the artist for posting daily updates on new paintings, sending invites for monthly art events or even soliciting likes or reviews through social media? These avenues of engagement serve to keep patrons, collectors and fans of the artist’s work connected and aware of what is new and upcoming.

I believe what matters most when debating the public vs. private artist’s life is character; Does he or she believe in his or her work with full confidence? Is the artist honest in his or her dealings with fans, patrons and collectors alike? Can the artist accurately represent his or her work in public and make a lasting impression upon their audience? Can the work represent itself? These are just a few questions that the “artist about to exit the studio” should be able to answer. For the artist content to stay put in the studio this is a perfectly OK as well.

Share when you are comfortable doing so.

Kevin Winger

I have recently embarked on a mission to fix or rework failed paintings. About three weeks ago I found myself sitting in my studio staring at a wall of paintings that I just couldn’t bring myself to exhibit yet hoping that I would eventually figure out what those weak pieces needed to reach a state of resolution. I had to search deep for the courage to begin this process of facing the inevitable.

These pieces didn’t work and never would. Ever.

As painful as it was to admit this to myself, this was going to be another battle with ego and I needed to win. I got my nerve up and unsheathed my industrial scraper tool and began to peel back the colorful layers of paint that had mostly dried on the surface but were still soft and yielding beneath. It was a tough step because each piece had at least one redeeming quality: a particularly effective composition or a color scheme that was tantalizing to the senses. On the other hand and of equal import, each piece had a major flaw: poor knife work, muddy colors, overworked paint, overzealous use of medium, clashing colors, or stagnant composition.

They needed to go.

I didn’t scrape them all at once, I scraped one or two and began the process of editing right away. There were some pieces that had elements I could incorporate into new paintings; this was particularly serendipitous on a portrait piece entitled “Spirit Moves Through” (pictured with article) where what was once a pedestal became the dark hair of a mysterious woman. Other pieces morphed from abstracts to impressionist landscapes, and other pieces failed a second time, to my chagrin. One piece went through five different permutations, with copious amounts of wasted paint and a rising sense of frustration.

But eventually, with patience and tenacity I prevailed.

What I gained from this process was of immeasurable value: every artist needs to have his or her own editing method, one that compliments his or her process and approach. For me, this was about first letting go of these failed pieces and admitting there was a problem with them. Sometimes I was unsure what to do with them but convinced that having an additional panel to paint on was more useful than a half-formed or unsuccessful work. I had to let go of my nostalgia for them as well. I found this process liberating, having pieces that would never see the light of day be transformed into the signature piece for my next show or finally figuring out exactly what was wrong with the initial work and correcting it with confidence.

Every artist needs to have a redactive process that brings to bear an objective assessment of the work’s quality. In my exploration of editing, this practice had to be completely separate from the creative process, as I have found that the “critical” or “ego mind” is a block for me. I had to don the critic’s hat and be effective in judging which pieces could stay, which needed to be tweaked, and which needed to be totally obliterated. The growth that can be achieved by being honest with one’s self and one’s work is very important and can be realized by applying the basic tenets of design, color theory, composition and theme.

As a result of this editing process, I have 22 new works that came from what were the resigned, dark recesses of my home studio. It also has forced me into one of the most prolific periods in my professional painting life. These pieces will now be exhibited and I have a new arsenal of “process tools” that I can use when faced with a less than satisfactory work. I no longer fear starting over or destroying marginal work. I am empowered to improve them and make them something that not only I am proud of, but that others may be able to enjoy in their fully realized state.

Kevin Winger

I do not paint daily, or even weekly, yet I am an artist. Months can go by without my squeezing a paint tube or picking up the palette knife. Despite an urge to be as prolific as possible in the creations of new works, I feel that I can’t always control when the spirit moves me to create. On the flip side, there are times where you can find me in the studio for days, awake at all hours of the morning and night, working away, seemingly possessed by the need to move colors around and make an art object.

I find myself often thinking of this urge and wondering why it is at times elusive and at other times like a bright light that I can’t seem to shut off or a gushing faucet with no spigot in sight. I find when I want to create, the source of inspiration or motivation isn’t always there, or readily available to tap into, despite the want; it seems that critical need is more important than the desire to get something worthwhile accomplished. When I try to force the completion of a piece or think too hard about what it should be or what form it should take or what is pleasing, I end up creating something less than good or even passable. Most of the time, forced pieces fail miserably. Why is this?

Sometime I chalk it up to the left brain/right brain argument, believing that the more logically and critically (left brain) I approach a project the less artistic and creative (right brain) the finished work is. Other times, I feel that there is some greater cycle, whose source is unknown, that moves through artists. This force or energy is something intangible. I have heard it described often that artists feel they are a conduit for something beyond them, something that works through them. I often wonder where this spirit comes from.

In my creative sessions, it has always been about dropping all pretenses, losing that sense of criticality and ego and just creating for the sheer enjoyment of creating. Sometimes it is as simple as just getting a spot of color on the panel and starting to manipulate it. Then the journey starts: forms appear, shapes reveal themselves, the larger composition takes identity and color choices come easily without any labored thoughts. This when I feel I’m producing inspired works: when I’m free from ego, self-doubt and second-guessing, when I simply express without judgment.

Don’t get me wrong, every time I’m moved to paint I always fall back into the trap and ask myself “What am I going to paint?” That is when the right brain answers, “Nothing. Today you will paint nothing”

That is when I begin.

Kevin Winger

An artist has many opportunities when it comes to interfacing with the non-profit community and charities. This can be something as simple as a donation to their offices or something as grand as unveiling a monumental work at a building dedication. Working closely with a group or cause that is dear to the artist can also be rewarding to the soul. Sharing your art with not-for-profit groups and charities can not only help those agencies, it can also lead to new exposure opportunities for the artist and be a great tax write-off.

Currently, I am in the process of donating a piece to The San Diego Chapter of the Soroptomists Club. They, along with a coalition of several Soroptimist International clubs in San Diego COUNTY are working on a program called Soroptimists Together Against Trafficking (STAT). This program works to raise awareness of domestic trafficking issues, with a focus on sexual trafficking. This is the movement of people, within national or across international borders, for the purposes of prostitution or other forms of exploitation. The painting I’m donating will be used in a special waiting room for female victims of trafficking. It is my hope that the beautiful colors add to the ambience of the room to help create an atmosphere of safety and security in this space.

It is of vital importance to work together with any group or organization in deciding which piece of art is to be selected for the benefit, fundraiser or donation. Giving them a variety to choose from helps to give them some ownership of the process and invites them to look at more than just one piece! The artist should always want to put his or her best pieces out there in the community, for any reason. All pieces considered should showcase the talents of the artist in their purest form. In addition, the piece should be appropriate for the group or cause that is receiving it.

Remember that art collectors are also donors, and this connection can help an artist generate new leads for future clientele through events.

When working with groups or agencies always ask to be included in any print materials associated with the event or ask to have a mention of the donation or your name included in their newsletter and/or email blasts. Also, if placing a piece at their offices make sure that proper credit for the work is posted with the piece. Waiting rooms are great places to get exposure for your art. At silent auctions, insist on placing some promotional materials by your donation, at minimum a small stack of business cards. Finally, always attend any event, fundraiser, benefit or dedication that includes your work or ask to volunteer or help organize these functions. A mention of your work by the host or in an event program is another vehicle for getting exposure to potential art enthusiasts at these events.

I have developed many strong alliances within the non-profit community though the aforementioned avenues and believe very strongly in the link between the artist and community. Art is for people to enjoy, in public, in a welcoming environment. What better way to achieve this than through those that give so much to our communities to improve the lives of others?

In the past I have worked with San Diego Coastkeeper, Family Health Centers of San Diego and Point Loma High School Instrumental Music Boosters for donation and fundraising purposes. Having these alliances in the community has been a very spiritually and emotionally rewarding process and has also led to further sales and new enthusiasts of my work.

It is up to the artist to figure out what foundations he or she supports and also to figure out how to work together with that agency and how best to benefit them. It is not out of the question for the artist to ask for some share of the publicity associated with these events and relationships. I have found every one that I’ve worked with very receptive to getting the word out. Remember, not-for profits are powerhouses of marketing and networking due to their role in the community and their need to engage and solicit the public’s support of their causes.

I have only scratched the surface of how mutual connections with non-profit organizations can help an emerging artist gain respect and exposure in the community. Working with and helping those that better our communities is good for the spirit as well.

Kevin Winger

Were you the kid who never stayed within the lines? That was me, for sure, and the same thing goes today with painting. For some artists considering the edge of the canvas is not something that has ever entered their minds, but for others, how one tackles this surface can greatly enhance or diminish the overall “finish” of the piece. Many approaches to treating the edge of the canvas or panel present themselves when the artist truly considers how to use this otherwise ignored surface and how best to engage it.

I have applied different methods to the edges of my works as my art has evolved. At first I thought all of my pieces had to be framed. Over time I learned that the collector should ultimately make framing decisions, with suggestions from the artist or professional framer if the collector solicits advice. Next, I found myself switching to the use of wood panels, which gave me a cleaner and more solid edge to consider, free from folded edges, fabric gaps and canvas tooth. When finishing these pieces I found myself meticulously scrapping excess paint, sanding, priming and painting these surfaces to attain a clean, contemporary look. Mostly these were painted in black or a neutral gray.

As time went on I became bored with such a “perfected” modern finish and started to allow the excess paint to remain on the edge, especially when it was a continuation of a stroke from the face of the work. In time, I began to exaggerate the work on the surface and let it carry over the edge to enhance the dimensionality of certain strokes and give the piece a limitless quality. These “carry overs” gave the edge a new character that spoke of breaking boundaries and pushing beyond the lines.

For future pieces I am exploring gilding and other treatments. Ultimately, I believe that whatever you do to finish a piece, it must enhance it. Also, be purposeful when deciding what technique to use, execute it with care and apply your best craftsmanship.

If you are a painter and plan on using the edge as a continuation of the artwork, treat it with as much care and attention to detail as you would the face of the piece. The artist must decide what works best for the work and what aesthetic suits his or her taste and the overall appearance of the finished piece. Presenting your work with a keen eye towards professionalism and that extra bit of polish helps others to take you and your art seriously. Never sacrifice your best possible presentation to save a few minutes of hard work; people will notice. Always be thorough with each and every aspect of finishing your work.

Kevin Winger
www.kevinwinger.com

“Art You Can Touch” at the UCSD Grove Gallery & Craft Center is a feast for the hands! This show challenges what we were told never to do with art; TOUCH IT! This exhibition gives the visually challenged community a venue to experience art in a way not usually available in today’s public museums and galleries. It also gives sighted people the chance to indulge in the temptation of touching beautiful art objects.

The Grove Gallery’s Friday evening reception was a well-attended and enthusiastically embraced event; packed with people, both non-sighted and sighted, touching, feeling, caressing and investigating the varied sculpture, pottery and textile art that filled the space. At our knees were seeing-eye dogs guiding enthusiastic feelers through the gallery from piece to piece on a journey of discovery that continued throughout the evening. It was quite a heart-warming sight and increased my awareness of space as I navigated through the exhibition. A few of the visually impaired visitors saw through their hands and fingers the varied textures and surfaces that had been assembled for this show. Some spoke aloud about what they were feeling and others were deeply focused on finding through touch what it was they were handling.

At one point I couldn’t resist the urge to close my eyes completely, turn around a few times and grope outward for an art piece to try and experience it purely, without sight. I found myself carefully scrutinizing the surface of what I determined to be metal, by its coolness and smooth feel. I felt around its edges, up and around the back of its terminating point and back down to the pedestal where I made my way over to a similar yet smaller shape protruding upwards. I thought it was possibly a sailboat or a pair of stylized trees but wasn’t quite sure. I decided to turn away from it and not confirm visually what it was but to keep the experience purely based on touch. I opened my eyes to find many sighted persons watching me intently and smiling. The joy and feeling in the gallery was contagious.

This show is truly a unique experience.

The “Art U Can Touch” exhibition was created by UCSD students Helen Kagan and Ahmet Ustunel, both enrolled in ceramics classes at the Crafts Center. Ahmet, a teacher for the visually challenged and blind himself, started sculpting at a very young age. At home in Turkey, he would scrape the putty out of the window frames of his house and mold it into animals. Eventually, his mother discovered the missing putty around the windows and bought him some clay.

Kagen, who formed a friendship with Ahmet, learned that he seldom visited many museums or galleries. They decided collaboratively to curate a show for the visually challenged that allowed the viewers to experience the art through the sense of touch.

The exhibits’ jury focused more on unique and varied textures vs. the customary “perceived quality” or “best” art that dominates typical selection processes. This was quite a different approach for them. Some art was rejected solely on the basis that they couldn’t devise a means of securing the piece to the display, others were scrutinized based on their potential susceptibility to damage.

There are tentative plans to make the show an annual event in collaboration with members of the San Diego Sculptors Guild.

Go feel it for yourself!

The “Art U Can Touch” Exhibit will run from Oct. 18 to Nov. 18. Gallery Hours: Tuesday-Friday 10-5pm, Saturday 10-2pm The UCSD Grove Gallery & Craft Center is located at 9500 Gilman Dr., La Jolla 92037 You can contact the gallery at 858-534-2021 during office hours for more information.

Kevin Winger is a San Diego artist and owner/operator of Mod-Est Studio Gallery at Liberty Station, Point Loma.

In my long, long years of being a gallery owner (1 year) and artist (3 years) I have made the discovery that marketing can only go so far in bringing new clients into contact with one’s work. I have spent countless hours developing websites, managing inventory, tweeting, blogging, advertising, mailing, emailing and presenting a very polished look to my display space and art presentation. Though all these activities are necessary (and expensive) in the contemporary art world, it is not the most important tool the professional artist has with which to develop a strong, lasting connection with his collectors and admirers.

That tool is being yourself.

Many can get caught up in the appearances of what one should do, or how one should present themselves to the world. This can be a delicate issue, especially when the salesperson side of the artist doesn’t correspond with the expressive side. When these two aspects are at opposition, a potential collector can sense this dichotomy and possibly decide against the acquisition of one’s work, noting the disharmony. This dance is a crucial commentary on who the artist is and what he or she is trying to say, not just through his or her art but through his or her businessperson selves and the supporting media used to promote it.

Being genuine is not a skill to be learned, it is simply about seeing the people that come into contact with your work as fellow humans and not sales opportunities. These people want to hear the story about your work, how you arrived at your particular style, why you chose the medium you work with etc. They want to know about your inspiration for your creations, why they are special beyond their perceived material value and why they were created.

This is easier said than done, especially when an artist depends on sales to stay in business, purchase supplies and make his or her rent. I have been fortunate in meeting some very special people that have subsequently become close friends and patrons in my short artistic career. Over time I have come to realize that the non-financial-only connections are more lasting and that maintaining a network of supportive friends and family is crucial to the success of a burgeoning art career.

I can honestly say that without the support of just a handful of people I wouldn’t have even gone into this vocation let alone maintained the gallery.

I interviewed collectors Bill and Diane Gustafson about their experience with acquiring pieces of my artwork and what was most important;

Q. Which came first, the friendship or the collecting?

(Bill) The friendship. Kevin was hired to paint our house a few years back. While he was working we all developed a friendship and learned that he is an artist, so we asked him to bring over a few pieces for us to choose from. Over time we found additional paintings that we liked.

Q. What attracted you to Kevin’s work?

(Bill) The bright colors definitely. Also the texture, which gives a three-dimensional quality to the paintings, and the abstract forms which allow each viewer to interpret the painting in a different way. I remember asking Kevin once what a particular painting meant to him, and he reversed the question and asked me what I thought it meant. He believes that a collector should have their own relationship to a work and not be told what a piece is or means, but let the viewer decide. Kevin helped to educate me to a degree about expressive art and what he was trying to achieve, this made it much more personal.

(Diane) I often find something new I never noticed before in a painting that has hung in the house for two years. There is an ongoing discovery process through his work.

Q. Do you have a favorite piece?

(Diane) We both love “Quercus Lobata”, a gift from Bill to myself.

(Bill) My favorite piece is one of his earlier works, “Cyan Sun” but it was not available. One day Kevin gave me the original acrylic mock-up/study for the work as a gift. Even though it does not have the same texture and dimensional qualities, it still is one of my favorites.

This may seem self-promotional however, I see it from the perspective of including one’s patrons in the process of the artwork and the operations of the gallery. It gives them a sense of ownership. Just the act of writing this blog and interviewing my collectors is a vehicle for thanking them for their support. I recommend always trying to think of ways that you can include those that help to encourage your artistic endeavors. This process leads to a feeling of inclusion and also lets others know that their efforts are appreciated.

The art business is about relationships pure and simple, without a genuine connection with your clients, the correlation between yourself and your creations is not evident.

When you share your art, you share yourself.

Kevin Winger

Develop a relationship with your art… what are you talking about?

For an artist, relating to one’s work is a part of the process of creation. There has always been the elusive point of resolution in completing one’s work on a particular piece. This is not always a cut and dry issue, such as filling in the last bit of white space on the canvas or polishing that last bit of sculpture. There is an intangible and mostly indescribable point when an artist feels he or she is finished. In fact, one of the most important skills an artist can learn is when to listen to his or her inner voice and know when it is time to STOP working a piece. Pushing a work of art too far can ruin it, causing the artist to abandon the effort or simply start over. This is but one aspect of the dialog an artist must develop with the works he or she is engaged in.

In my creative endeavors I have always found that sitting with a painting for a period of time is just as important as being sure that the work is complete. Over time your perception of a completed piece can change or evolve. I have found that my perception of pieces that I loved at first for their individuality or confident use of new materials changed in comparison to newer works of similar merit. I have also found pieces that over time lose a particular personal resonance with me and end up being scrapped or stored in the back of a drying rack for months or years. Later, uncovering an early, hidden piece can also become an exciting discovery, as it can now be viewed in a fresh, new way in relation to subsequent works.

For some incomplete works, I have given up finding a resolution in them and have later pulled them from storage and found them more finished than I’d initially thought. This process is elusive and varies by the artist. At times, I have struggled to figure out what a work may need in order to reach that state of completeness and after much consideration have found that only a very minor tweak of color or texture was all that was needed to reach a finished state. I cannot stress enough the need to let your perception of your individual creations “stew” or “marinate” for a while before exhibiting them and allowing yourself to be open to viewing your work from new and different perspectives.

Sometimes the simple act of moving a work to a separate environment, out of the studio and away from other works (contextual issues) or in different lighting can provide new insights into what the work will eventually mean to the artist. Try to view your works in isolation and in the context of similar works. Trust me that this process is truly a necessary evolution in understanding how to see your work.

Seeing your works (emphasis on plurality) as a “whole” or a “body” is crucial.

One strategy I use for new exhibition groupings is to hang the potential pieces from that show together, salon style (all hung closely together, side by side both above and below) on a single wall in my studio and shuffle their placement in relation to one another. This process helps me to decide which works are most cohesive, which ones are technically inferior, and which ones will make the cut. You’ll find that just sitting quietly and considering their distinctive qualities or personalities will help you decide which are best for your show.

Each artist has to determine how he or she decides a work is complete, what gets exhibited, and what gets reworked.

One of the most difficult decisions a professional artist can make is parting with a treasured piece, a work that he or she feels is one of their best whether it is sold, donated or gifted. I have had this feeling many times, but have resolved to let them live in new homes and be enjoyed by others. Remember, sharing one’s creations is just as important as creating them.

Kevin Winger

For an emerging artist, making the best possible impression when exhibiting one’s work is of paramount importance. Many artists overlook the significance of presenting a clean and cohesive finish to a body of work when presenting it, opting instead for unfinished edges or frames that detract from the works as opposed to enhancing them. An artist who wants to best present him or herself chooses the right frame, (one that enhances the appearance of the piece) finishes their pieces in a professional manner and assembles a body of work that presents itself as synergistic whole.

It is up to the individual artist to decide what compliments his or her work when presenting it to the public, but the artist must always keep in mind that the public may not agree with the artists finishing choices. I have found that building flexibility into the way I finish pieces helps the process immensely: always use acrylic to finish the edges of unframed pieces (so you can paint over them later) and have easily removable frames should a collector not like your framing selection you can quickly remove it, or opt not to frame at all. Other tips include: using quality canvasses or panels, quality paint or materials, and making sure that your works are completely dry before handling them.

Here are some simple and universal tips for installing a work of art.

• Basic hanging techniques is as follows: measure up from the floor 60” (average eye level) make a pencil mark. • Measure height of piece to be hung, including frame, divide height of piece by two and add this figure to your 60” mark, make second mark at new height. • Turn picture around to the backside and measure distance from hanger (the pieces’ wire or bracket) to top of piece (including frame) subtract this measurement from second mark, make an x at this point. • This is where your screw or wall anchors go. • Always consider weight of piece and use appropriately weight-rated hangers or anchors in the wall.

After picture is hung it is time for informing your audience. Tags for artwork should always include the following information:

• Title of piece • Medium • Dimension (height x width), • Surface (canvas, paper, panel etc.) • Artist name • Price

For some, whether or not to put a price on the information tag is a tough call, it depends on the gallery or exhibition space the show is in and whether or not the show is solely for public enjoyment, sales opportunity or both. I think that not having the price accompany a work can detract from a possible sale. In my opinion, pricing your work openly doesn’t diminish the professionalism of the exhibit.

Lighting is also very important, use color corrected bulbs to best represent the work, use a system of tracks and moveable fixtures for maximum flexibility, avoid surface glare and position lighting in a manner that doesn’t create shadows from onlookers.

Always have professional media to support yourself or the artist such as: business cards, portfolio, color postcard takeaways for prospective collectors and other relevant artist or exhibition “concept” related print.

There are a myriad of other details for putting together a great show, this blog entry has only touched the surface of all that should be considered for an exhibition. For more in depth information may I suggest the books: “Art / Work” by Heather Darcy Bhandari and Jonathan Melber or “How to Survive and Prosper as an Artist: Selling Yourself Without Selling Your Soul” by Caroll Michels. Or you can take a local class that covers all the fine details of gallery and exhibition skills.

Mesa Community College offers a certificate program in Gallery and Exhibition Skills. In this three-part program, students learn about the theory and design of art exhibitions and curating. Professor Alessandra Moctezuma, Gallery Director, shows very effectively through a series of courses and an internship, all aspects of installation and de-installation. The program also requires students to actively participate in the workings of Mesa College Art Gallery and to curate a show out in our community.

Many artists are paralyzed by the idea of selling out. Some feel that money is in some way destructive to the process of creation and can corrupt the higher purpose of art as a vehicle for culture transformation. Some artists never get to the point of displaying their work for fear of succumbing to money’s influence. Can artists make money and not be influenced by its power? When it comes to supporting one’s self or purchasing new materials, do these rationalizations move us past our ethical impediments?

Don’t most artists aspire to support themselves through their art?

There are those in the art world who have made a lucrative business of selling their art. With modern reproduction methods, many create limited editions of their pieces. This does two things for them: it creates lower prices for their work and makes that work available to more collectors. Is this selling out? Photographers and graphic designers are expected to produce multiple prints to share, whereas a sculptor whose works display dimensionality, is hard pressed to copy his/ her works in a way that is true to their inherent dimensionality.

Thus, the artist can be limited by his or her medium as to the broadness of the market in terms of duplication issues.

Being an impasto oil painter, my market is limited, and, although my more textural works are professionally photographed, the true sculptural quality of them can only be appreciated in person. I choose to sell only original works because that is what works best for me. Individual artists have to decide for themselves whether it serves the highest purpose of their artistic vision to copy them and make them available to a larger audience.

What about commissions? What happens when a collector gives direction that lies outside the style or comfort zone of the artist?

For the professional making a living with their art, this creates a unique challenge. I have found it helpful to see “direction” as a challenge to step outside of my comfort zones and push the limits of what I am typically producing. I find that to accept a client’s suggestion has helped me to develop new approaches and use new materials to achieve the desired qualities. But when does too much direction become a problem? When does that control separate the artist from his or her core of expression and that commission’s prospect become a burden?

It is the artist’s job to create, first and foremost, as a vehicle for expression. Secondly, any artist will tell you that input from outside sources can corrupt the process, becoming invasive enough to squash brilliance and inspiration. This interaction becomes more complicated when a reward (money) is involved. For the artist who needs to make rent, a reconsideration of his or her values may lead him or her into uncertain territory. Also, embracing a project so alien to one’s own creative process can quickly turn into a disaster for both the artist and the client. Taking a difficult project on unsuccessfully to make a quick buck can damage the artist’s reputation and, furthermore, erodes his or her artistic integrity. Pleasing a client at all costs can create the dilemma of selling out, where the artist is on the spot to either stay true to his or her vision or put food on the table. These issues should be seriously considered when negotiating commissions.

Once an artist makes the decision to earn a living from the sale of his art objects, avoiding the financial realities of this process becomes impossible.

The idea of selling out can mean a myriad of things for the artist, including the releasing of intellectual property rights, merchandising of artwork, mass reproduction, and accepting less money for a piece the artist feels is worth more. The individual artist must carefully weigh these instances, as they carry with them the prospect of financial reward. We must remember as artists that our integrity is something that can’t be quantified; sticking to one’s principles is of utmost importance. Luckily, we as artists get to decide what level of influence money has in our art and to know that it is OK to say no.