Art, Collectively Defined

Art, Collectively Defined

Two NY Times stories (3/5/06) presented interesting themes of art being defined through a collaborative experience.

The first article, Military Maneuvers With Computer and Color, is about a duo-artist team, now husband and wife, who have been working together for years. They've taken their collaboration a step further with input from the community.

Detail from PTG.32 APUS, the subject of 'Miliary Maneuvers...'

They invited input from "...friends, artists, students, local merchants and, most recently, members of the American military based in Iraq, to choose from colors, text phrases and forms culled from the artists' vast drawing archive."

Sort of a paint-by-voting approach that drives a collectively produced, somewhat modular, and yet unique piece. (The article includes a link to the online survey and a short multimedia file for more background.)

The second article, The Collective Conscious, takes this theme of collaborative art even further. It describes artist collectives, where artists work together often operating under a single name. These collectives tap into group creation, the power and pervasivenss of the Internet to publish and share their work, and performance-based elements to reach into the public's consciousness.

These collectives operate "... on the principle that information is power and that it is most effectively made available through a combination of science and aesthetics. " They make their art, and their statements, reaching the public through marketing campaigns for non-existent movies and through scientific research and laboratory demonstrations.

These are a far cry from the image of the solitary painter at his easel. These are dynamic, complex organizations and collaborations, some with purposeful confusion, some with a rejection of the traditional gallery tradition.

Getting Out There

Getting Out There

I had my first art show back in September. Friends have said, "That's great that you're getting out there." Well, getting-out-there has turned out to be a little rollercoaster of an experience.

Me and fellow artist Edwin Pallens at our show in Brisbane, Calif.

Participation in this show came about by happenstance. I met another artist, actually through some furniture shopping (he was the salesperson/designer). We discovered that we had painting in common and he liked my work. We stayed in touch a bit, and he called one day to say he had good news. He had a show. "Congratulations! That's great," I said, thinking that was the extent of the good news. But then he very generously offered to share his show with me. He wanted to give me one of his walls. How exciting!

So, then we examined our pieces, and discussed which to select. And we discussed framing or not. And bios, and label cards. And the reception. Lots of excitement.

The location was Brisbane City Hall. Okay, not too exciting there. But still, a first show, I thought. I got myself jazzed again. Then somewhere along the line I realized that my fellow artist hadn't been specially selected himself. The City was just looking for local art to hang in their offices, and he simply walked in and offered. Hmmm, not so "big time." But still my first show, I thought, so I got excited again. I didn't want to have unreasonably high expectations, but I wanted to be positive and enjoy this, and to make the most of it.

Then came the day for dropping off our work. We met the City employee he'd been communicating with. She led us to a conference room and said we could set our paintings along the wall. When she stepped out, I asked my artist friend Edwin, "Where's the space?" He said, "This is it." Oh. It was a moderate sized conference room with typical, somewhat old conference room furniture. City officials held meetings here. Throngs of people- if any- certainly wouldn't be coming through. I couldn't help but be disappointed.

Then, once again, with reminders from my husband, I realized this was still cool. I had to start somewhere. It was a show. People would see my work. The city would host a reception. Fellow artists also told me I needed credibility in nonprofit venues like this one before the commercial art world would take me seriously.

So, I went back to being positive. I invited friends and family to the reception. I created a special playlist for music at the reception. I debated about what to wear, with some vague pressure to look 'artsy'. I belabored over pricing. I printed artist business cards, and updated my printed portfolio, including scanned images of the drawings that were the starting point for several of the pieces that would be hanging.

The reception happened and about dozen of my friends and family came to support me. And Edwin's friends and family came too. My music was good-- a mix between lively and background-ish. The city served carrot cake and coffee. All in all, it was pretty cool. People examined my artwork with interest. They looked through my portfolio and asked me questions. I got practice trying to explain why I painted particular pieces and what they meant or represented. My wonderfully over-the-top friend Matt brought me two dozen roses. My husband said I was the art star Brisbane.

In the end, it was a pretty great experience, even if it was only in a conference room in Brisbane City Hall

Since that show back in September, I've participated in three more: at the Coastal Arts League in Half Moon Bay, Redwood City Art Center, and the ARTshare 25 Gallery in San Mateo. These are all non-commercial galleries, either cooperatives or non-profit galleries. Most of the receptions consist of the artists and the artists' friends talking to each other. Little or no sales seem to take place. So, while I'm "out there," I wonder if I'm accomplishing anything.

Yes, I'm out there. People are looking at my artwork. And I think there is inherent value and enjoyment in that. But there's also a sense of going nowhere. The art world is mysterious and unstructured. Becoming 'somebody' in the art world or having greater commercial exposure is often quite an elusive goal for artists. It's hard for me to identify what success looks like, if indeed it's something beyond what I'm currently doing. I wonder about how to make sales, what fair pricing is, about commercialism vs. the simple value of expression, and even being ready to let go of my pieces.

Day Job and Art

Day Job and Art

Okay, it’s been two months since I’ve posted anything. That’s not very blog-like, but it’s the impact of traveling and being back in a day-job.

But there's good news:

• I've traveled to Costa Rica and seen beautiful landscapes and wildlife (that sunset picture is from Costa Rica).
• I’ve still had time for art.
• And of course, being employed is generally a good thing.

Obviously, I've had time for photography while traveling, in both Costa Rica and Oklahoma.

I’m the show coordinator for Silicon Valley Open Studios, PEEK show (http://www.svos.org/). I'm handling the communication with participating artists and participating in the jurying of the show.

I've had two pieces up at the ARTshare 25 Gallery in San Mateo (the show just ended yesterday).

I'm beginning to prepare for the big open studios weekend (my first year participating) in May.

And I've been doing some painting.

Last, and probably least, I have done some doodling in the midst of long corporate offsites. I just can't sit still for hours on end, so my nervous and/or creative energy comes out through my pen. Interestingly, it's actually given me some ideas for paintings.

Whoever thought a corporate day-job could be an inspiration?