Christian Fine Art Today

Painted Today

Tue, 25 Sep 2007 16:02:00 -0400

HERE IS WHERE I PAINTED THIS MORNING. I was asked by my church to paint for the cover of our magazine; a forthcoming issue directed towards creativity - whether an author, musician, artist, etc.

Knowing that God gave "all men gifts", I was delighted and thankful to paint for Him; yet there were challenges. Trying to make our huge campus-like architecture warm and inviting took time for me to scope-out. Brick-and-mortar alone does not constitute nor convey God or His Church. Spending a previous day observing from vantage-points high and low (and doubtful of finding a location) I sought a spot which could relay our message without people in the image...and He is what we are all about.

The building faces North, therefore, never receives direct sunlight. However, I found a place to the side that receives early morning light. All the doors were closed yet, God never closes. A church and its building should be open at all times, and ours is. After all my research, you will see how I solved this issue.

I setup my equipment at 8:30 am today in the hope of generating a tough concept to capture via photos or on canvas.

See the final painting in my next message...it is not finished yet! I must complete this one in the studio...

Gallery Agreements for Artists - Part 1

Mon, 10 Sep 2007 20:10:00 -0400

AGREEMENTS are just that, agreements. "We agree on this", "We agree on that."

Gallery agreements are generally referred to by artists as "contracts." This is not a contract. [Google the definition of both for clarification on any of these terms.]

Most of the time, it's the gallery who gives YOU an agreement to sign. It's rare, but necessary for YOU to have an agreement prepared for yourself for THEM to sign. The point is, that an agreement is not a one-sided document, but for the benefit of both parties. This is not target practice but a business. Both should agree and be on the same side so everyone benefits.

I am NOT an attorney. You should secure one when you are faced with an agreement. However, I have gone through this process many times and know some of the things that are important, even critical to both parties. Most importantly, which ones artists generally overlook, that give deference to the gallery rather than equality for both.

Sideline: I continually advocate artists pay for one hour of an attorney's time (one who works with creatives) to hammer-out some of these issues. It will pay you dividends in the end to do this. Worth every penny they charge and will carry you through several agreements.

FIRST
You are both businesses. The gallery is a business, and you are a professional business person (see Definitions: Professional vs. Advanced Artist - for complete definitions). Both gallery and artist are on the same level. Both want to make a profit. Both are on the same plain. One is not higher nor lower than the other...you are a business TEAM – on par with each other. Whether you are a seasoned professional dealing with galleries and venues for years, or a first-time entrant, the playing-field is the same. Prices and some negotiations may differ, but it’s a TEAM game. Don’t forget this fact.

INSIDE THE AGREEMENT
Let's take a close look at just a few elements contained in a standard gallery agreement. One of the first things to do is to establish the expectations of both yourself and the gallery. Speaking about these things verbally with the gallery owner then getting into writing will settle many of the things stated in any agreement.

"Let's Do Lunch"
You will see or hear me repeat this several times: take your gallery owner to lunch! Why? Because it’s better than trying to talk on-the-fly or making an office appointment. Lunch offers a level playing field. And when you are paying, it reiterates that YOU are a business-owner too.

Let's address some of the general features here:

Advertising
Discuss the gallery's policy on advertising. That is, will the gallery pay for all of the ads (brochures, postcards, newspaper, TV and radio spots) that are associated with marketing your art? Or, will you be responsible for paying some of the marketing and advertising (called "co-opting")?

The answer to this question can directly impact the gallery to artist commission split. The more the gallery pays for, the lower your commission is likely to be. If you will be splitting some of the costs, your commission may be higher. Either way, look closely at the numbers. You want an actual split - not for you to carry the whole weight of advertising. Remember, the gallery sells the work of many artists and derive income from all (not to neglect their staff, lighting, rent or other related to carrying a business.) You only have YOUR work to sell. And mostly originals at that. Therefore, look for equity and balance. If you are having a solo show with a gallery, you and they can split the difference unless they are a totally wonderful gallery and carry all that expense (which used to be the norm.) However, you should not be expected to lower your commission to carry all of the gallery’s artists and marketing expenses. Can you discern the difference?

It's important to address this up-front so there is no doubt who will be paying for what. Be careful of this: if the gallery says they don't pay for advertising, yet require a high commission from you: buyer beware. This does not happen often, but become knowledgeable of all the numbers compared to what you both will do in terms of ad dollars to be spent.

Sideline: Many artists leave the money/charges up to galleries, then take gas when the gallery asks for a higher commission or for you to pitch in cash to defray advertising costs.

You cannot afford to do this. You are a sole-proprietor business-person. As such, you have less (generally speaking) capital to devote to any promotion but your own work...yes, the gallery may. You are in business to promote YOUR work, not the gallery itself. Nevertheless, it behooves you to always include your gallery reps in your advertising to reach the widest market. The thing you need to be cautious of is that any gallery does not use you to promote them alone. This is particularly true if you are a high-end artist. However, again, there are trade-offs. You both need each other and both need to market each other equally for each to succeed financially.

What are the targeted sales revenues for your work? Does the gallery require that you sell "x" number of pieces per year or expect/anticipate a dollar amount of sales be met? They may not have a set goal for your work, but it's a good idea to ask about and discuss this facet of the business. If you don't there could be mis-communications down the road. Keep everything up-front!!! Sometimes this is difficult, but very necessary to maintaining a good business relationship.

Shows
How many solo and group show events does the gallery offer or expect of you per year? There should be at least one solo, and one or more group shows you'll be a part of each year. This is not necessarily true today, but should be. Don't be vague on this issue. Both the gallery and you NEED to nail-down dates in tandem with the agreement for the first year. After that (second year) you’ll both have a data-point to work from for the second agreement. (Second agreement?...Yes, agreements in general should be for one or two years, which means each year you can negotiate on this and other points.)

If you can only handle one solo show every two years or can offering grand sales for two years, let the gallery know. Either way, the number of solo shows per year should decided upon and clearly stated in the agreement.

Marketing Materials
Will you or the gallery pay for collateral material? This can be anything from postcards to formal invitations to your solo shows, general brochures, magazine ads, biographies and the like. Find out what the gallery will cover and what costs you will be expected to pay.

Clientele
Ask the gallery about the size of their corporate and collector list. This information cannot guarantee sales of your work, but can offer you an idea of the size/scope of their clientele they have already built for potential sales. If their scope of collectors for the type of work you do is not great enough, you may consider working with another representative based on this factor alone.

Absorb this bit of info which is enough on your plate for now. Next time, I will address even more essential aspects of the gallery/artist agreement.

New Plein Air Wear Site

Mon, 10 Sep 2007 13:22:00 -0400

New Plein Air Wear site merges with The Artists Closet

HI PAINTERS. You are probably already aware of The Artists Closet's presence on the Web for some time. I have merged this and rolled it into a new site - Plein Air Wear, which you too, may be familiar with. These two sites had so much to offer but now they are one!

As always, the focus is on education for beginning to advanced painters with a twist. The ever-popular artists clothing, aprons and gift shop is now in full-swing, with new products and added designs. I hope you enjoy the changes. One thing has not changed - all of the content once in The Artists Closet is now featured at the new domain. Take a look around and let me know what YOU think.

Also, please communicate what you'd like to see added to the site in terms of content. This service is for colleague painters, so if something is or is not working for you let me know!

Art on Fire

Sat, 25 Mar 2006 18:00:00 -0500

I SPOKE TO ONE OF MY FORMER STUDENTS by phone yesterday. She relayed a story to me about an exhibition she recently attended in NYC. I will not discuss details - the show was infinitely horrifying to her.

As a requirement for her Masters program, she attended this specific show with a friend. They paid their $10 entry fee. Upon entering and viewing the first piece, this 30 year old, immanently experienced portraitist got her first glimpse of what was yet to come.

Having lived in the City for many years, she has seen many abhorrent things in her time. She would only shared with me but a taste of what was in this show so that I would not be impacted in kind, except to say that the content was explicit, irreverent, evil, and gratuitous - subjects being of adults and children. Nuff said on that point.

The two ladies exited the show after viewing only a few pieces. My student (who has also become a friend) did the right thing. They let the museum know that the show was distasteful and hurtful to them and requested a refund - which they received.

The above example reinforces what David said in Psalm 101:3 NIV:

I will set before my eyes no vile thing. The deeds of faithless men I hate; they will not cling to me.

You would not expect a painter who has studied life drawing, painting, art history, abstract and "message" paintings, etc., could be negatively impacted by any kind of art. But artists are people too. Christian artists in particular, if sensitive to the Spirit of God, will be moved to stand-down from anything that is outwardly, flagrantly and visually evil.

David who was a wise man, who saw and did a great many grand as well as sinful things knew that whatever enters one's eyes can impact the heart in a powerful way.

Christian artist, this is merely the beginning of how sensitive you need to be regarding not only what you view but what you subject others to of your own works.

Pray for artists who need Christ and pray for you. Pray that whatever you create or put before the eyes of others will honor God. It is one thing to create a piece that shows anxiety, pain, etc., nevertheless, convey your message such that it builds-up the viewer without damaging their spirit.

Thought from Christian Fine Art Today:
You know the saying builders have used for many years - "measure twice, cut once"? This means not to be careless, take those extra few moments to measure before cutting a piece of wood. We are dealing with souls here, therefore my interpretation and thought for today is:

Think once, pray twice; then paint!

ArtVictor is Launched

Sat, 18 Mar 2006 17:41:00 -0500

Hi Friends,

Just a note to let you all know that the new message board, ArtVictor is now online and ready to engage in great discussions about painting and marketing! Please come by, introduce yourself - help me get the dialog going - and the exchange of ideas rolling.

Thanks in advance for coming by!

All the Best,
Diane

Mission of the Christian Artist

Tue, 14 Mar 2006 09:02:00 -0500

WE BEGIN in H.R. Rookmaaker's book, Art Needs No Justification, for our topic of the day. Rookmaaker wrote:

Artists are in a crucial place. They have to take part in a movement that has no organization, that has no name, the movement that I call the reformation, the return of the Lord to seek the Truth, the Way and the Life that is in Christ Jesus. Artists must be part of this.

Further he states,

The world did not become atheist because they [Christians] preached so hard, but because they worked so hard. In many fields they have led the way. They have set the tone. Art certainly has a great influence on people.

Lastly,

Often we are satisfied too soon, too easily. We pick up what the world does, change some obvious things, and then we think we have arrived. Our paintings are sometimes the same as "theirs" maybe just a little bit less shocking or radical. But to be a Christian is not to be conservative or less exciting.

These are powerful words from one of the late professor of art history at the Free University of Amsterdam, world-renowned art critic and author.

As artists, we indeed are in a crucial place in a crucial time. It is true we are not organized. However, as each artist whatever there genre seeks the mind of God, the Holy Spirit will guide and direct the individual. By doing this, we are automatically corporately organized even if we don't know what another artist may be doing.

Somewhere we dropped the ball. The ball being, as leaders rather than followers in the art world. I'll address this topic frequently from many directions as time goes on. In the context of the above quotes, unbelievers (more specifically atheists) worked very hard at taking a leadership role in the arts. Early on, we lead the way, now we are expected to follow and comply or keep quiet (Read our theme verse in the menu bar. We are to work quietly but not be muzzled by the world). We are compelled not to follow the ways of the world but of God's will.

The pressure today is great for artists of all stripes to follow this or that trend or style. Rather, we should find our niche, work tirelessly to excel in that area, and as God opens the doors, on into leadership roles within the arts. It should not be our goal to nudge our way way in, but instead, work and take opportunities as they present themselves. We're all in this together even though we work individually.

The word "conservative" in the last line of Rookmaaker's quote, it does not refer to a political position or agenda. Rather, it means we should take the reigns and lead instead of follow what the rest of the art world is doing. Works by Christian artists need not be dull! On the contrary, our work should be exciting and engaging enough to draw the viewer in to deliver whatever message or subject is we project.

Coming up...a radio program and commentary titled, Christian Artist vs. Christian Artist...don't miss it!

The First Artist

Tue, 7 Mar 2006 12:21:00 -0500

I ALWAYS like to start at the beginning. As you can see above inside our CFA graphic, Genesis 1:1 is cited. It is not our theme verse but without it, we don't have a leg to stand on art-wise.

In the beginning God created the heavens and the earth. ~ NIV

The very first recorded act by God was as creative agent - the first artist - "God created..."!

I used to think there was no value to creating art and that being something other than an artist had more merit in God's eyes. A doctor, lawyer, engineer - that's what I thought God wanted of me. However, He did not wire me that way.

Once I realized that the God himself made things - all things - I was so excited and really felt a part of the art world - being an artist had meaning!! God did not make a mistake with me; I'm supposed to be an artist! (More about that story in subsequent posts.)

The Second Artists
It is difficult to understand what is happening now in the art world (more specifically in the Christian arena) without grasping what has already happened historically. We don't need to address the topic of historical significance since as artists we just want to create and make our works!

Nevertheless, it may enrich the work you are already doing in ways you did not realize, by knowing how we came to be here - surrounded by so many different art forms and subjects. Many of us have been led to believe that no art was created during Biblical times. But oh, how incorrect this is.

Color, form, sculpture, armor, fiber and all manner of materials including stone, wood, etc., were used to create decorations and images in building the Tabernacle and breastpiece. For example in Exodus:

...to cut and set stones, to work in wood and to engage in all kinds of artistic craftsmanship. ~ Exodus 35:33 NIV

All the skilled men among the workmen made the tabernacle with ten curtains of finely twisted linen and blue, purple and scarlet yarn, with cherubim worked into them by a skilled craftsman. ~ Exodus 36:8 NIV

...with him was Oholiab son of Ahisamach, of the tribe of Dan - a craftsman and designer, and an embroiderer in blue, purple and scarlet yarn and fine linen. ~ Exodus 38:23 NIV

They hammered out thin sheets of gold and cut strands to be worked into the blue, purple and scarlet yarn and fine linen—the work of a skilled craftsman. ~ Exodus 39:3 NIV

Fashion a breastpiece for making decisions - the work of a skilled craftsman. Make it like the ephod: of gold, and of blue, purple and scarlet yarn, and of finely twisted linen. ~ Exodus 28:15 NIV

There are many, many more references. The idea here is that one of God's attributes was as the creator. Since we were made in His image, we too, have the ability to create; whether it's fine art, scientific invention, making a cake recipe, etc.

Therfore, we have permission and an obligation not to hide our gift under a bushel but shine for all to see for His honor and our edification.

To be continued...

Inaugural Post - Welcome!

Mon, 6 Mar 2006 19:49:00 -0500

WELCOME TO the inaugural posting to Christian Fine Art Today - a unique Web log. Unique because it will address issues relative to Christian artists in today's world while learning from fellow artists of the past. I am L. Diane Johnson; fine artist, instructor, and writer. You can learn more about me by clicking in the Links menu. I will be writing commentary, probing issues and I hope you will join me by writing about your thoughts and experiences as well.

Fine Art is the primary topic for this Web log - mainly two-dimensional works. However, there will be times when I study other art areas such as sculpture, stained glass and Christian illustration. These forms have and do play an integral role in the arts. I will also delve into and weave my personal story about being a Christian artist. My journey has been an unusual one, one that I hope will help others dealing with artistic or Christian issues, or considering fine art as a career field.

From time-to-time I will also post radio podcasts to enrich and bring thoughts through the spoken word that can't be delivered in quite the same way as the written word. Additionally, I will point to resources for Christian artists and opportunities to market your work.

It is amazing to me how God has used His people through history, up to this very day to glorify himself through the hands of artists - artists who He created, gave the gift of creation to, who trained and masterfully brought and continue to bring their particular message to our world. Moreover, He gave these same gifts to unbelievers which cannot be dismissed...we'll tackle that topic too.

So on we go...
All the Best,
Diane