process

To School or Not to School...

School of Art 

Now and then, I am asked by aspiring young artists if I have any recommendations for an art school to learn to paint landscape or abstract art. The answer to that question is always quite difficult… 

…If a person is gifted creatively, a fine arts major could be extremely beneficial, or it could destroy their potential. It depends on who they are, how they’re wired, and what they’re looking for. One would think that the goal of a fine arts degree would be to learn all the necessary tools for making a living as an artist, right? This would seem like a realistic expectation given the tens of thousands of dollars mommy and daddy are spending for the degree. I mean really, why spend all that time and effort and money just to graduate and flip burgers at McDonalds? (or rather, flip burgers while paying interest on a $60,000 student loan). But this happens all the time, and it’s rarely for a lack of talent.

An option I think everyone would do well to consider is to look for an accomplished artist and ask them to mentor you. Then, go to school and learn something that would help you as an artist (like marketing or business) and all along, learn your craft from your mentor. This is how they did it back in the day and may make a whole lot of sense to bring back. 

But if you're dead set on going to art school, here are my suggestions:

First of all...

First, get online and take a look at artwork of the actual art students. That will tell you a lot. You might think the artwork looks really cool, but the question you need to ask yourself is: does this artwork look like anything anyone would actually purchase and put in there home? I know… I know… even asking that question will insult some aspiring artists, but more than likely I’m saving them from a lifetime of burger flipping. Now, if all you want to do is visually express yourself and you don’t give a wit about making a living actually doing art, then none of this applies to you. The people I’m writing to are those who want to be trained to make a living by learning a skill. For that to happen, you need to learn to make work that others value. Makes sense, right? It’s not rocket science.

Then...

Once you find a school that looks promising, call that school and schedule a tour. A lot of schools will even allow you to sit in on a class, which can be extraordinarily helpful. You’ll be able to tell right away whether the instructors are training students in a new skill or just touting “unconfined expression”. If they are doing the latter, their whole venture is self-refuting—they are building their program on the false premise that art isn't a skill, but if that were truly the case, you wouldn’t need to go to school for it in the first place.

IN CLOSING...

The most important thing to stress is that all of us would do well with input, advice and encouragement from someone who does what we want to do better than we do it (whether we're talking brain surgeons, journalists, actors, dentists or artists). Get input and encouragement. And if you try to do that at an art school, choose carefully. The right school can be a really great find (and the wrong one will be a waste of countless thousands of dollars). 

How Do I Start This Thing?

The Art of Getting Started 

So, you’ve graduated with a fine arts degree and are ready to get a job as an artist? Grand ambition! Who do you send your resume to? How do you arrange a job interview? Where do you find the painting shop that will hire you? Obviously, landing a job as an artist doesn’t work like this. So then, what is the path toward working as a full time artist?

My first suggestion concerns your education: Do NOT just get training in art, because most artists need a second career that can pay the bills while they build up a portfolio and find their niche. It’s at this point I often hear aspiring artists complain, “but I just want to paint!” And that’s all very good. Keep your eye on that goal at all times. And get trained in a related field if possible. When I first started painting, I was a sign designer. Granted, I was probably one of the most overtrained sign designers in the industry but it was easy for me. And it paid the bills. That’s exactly what I needed at that point. I know other artists who started their careers as art teachers. It’s not so important what your initial career is. What is important is that you don’t hate it. You don’t have to love it, but if you’re an artist, you are probably not someone who wake up every morning going to a job you loathe. Find something enjoyable, if not a great career. You don’t need a second career—you just need a day job.

Once you have a job and are painting evenings and weekends, enter as many art shows as possible. You want your work seen by as many people as possible. Track the shows you are a part of and obviously, track of any awards you win. You are building your resume, getting exposure, and hopefully making some connections. You’ll also want to develop an “artist statement” to go along with the resume you use for these shows. Just google “artist statement” to get some ideas. During this time (or shortly thereafter) you can begin approaching art galleries to carry your work. To paint full time, you will probably need 8 to 10 art galleries that are selling your work. I will address art gallery etiquette in a separate blog because it’s important that you approach them correctly. Hint: don’t just show up on their doorstep with a bunch of photos for them to look at. Once you are entering art shows and are in a few galleries you should probably cut down to half time at your other job, and you can think about participating in outdoor art festivals around the country (start local!). You will need to invest in a canopy of some kind and some sort of display system. Be aware that art festivals charge entrance fees and many of them will want to take a look at photos of your work (as well as your artist statement and resume) before they allow you to participate.

But what if...

If you don’t want to go that route, there are other options. You can concentrate on galleries, getting your work into as many as possible, or you can relocate to an ‘art destination' where customers seeking art can naturally find you. I moved to Asheville, North Carolina and as a result, I sell 90% of my paintings right here in my studio. If you have any questions, feel free to shoot them my way and I’ll do my best to answer them, either directly or in a future post.

Process: Rocky Mountain Commission

I love working large. Large artwork is commanding. Whether it’s intended as entrance art to grab you as soon as you enter a house or just a large wall piece, a sizable painting is artwork on a grand scale. I am currently working on a large commissioned art project for some nice folks in Austin, TX. The composition is triptych, and is based on a scene of the Rocky mountains -- mountains and birch trees reflecting in a lake. I just finished applying the metallic leaf to the textured surfaces of the panels yesterday and I was ready to go home -- turned off the lights and went to the back of the studio to get my keys, and when I turned around, I saw the panels reflecting back the late afternoon sunlight and I had to get a photo. Sorry. I get excited about stuff like this. One day, I'll have to just do a painting with no paint at all -- just metal covered with resin. I think that would be cool. Anyway, this one is ready for paint now, and by the end of the day, I'll have that first layer of paint applied. 

Sometimes, when I get into a piece, it's cool to explore the background story. This scene from Glacier National Park required just a bit of research so that I'm not just painting a painting, but I'm depicting a place. I want to capture the "spirit" of that place. Throughout time, people have sought out Glacier National Park's rugged peaks, clear waters, and glacial-carved valleys; its landscape giving both desired resources and inspiration to those persistent enough to venture through it. Evidence of human use in this area dates back to over 10,000 years. By the time the first European explorers came into this region, several different tribes inhabited the area. The Blackfeet Indians controlled the vast prairies east of the mountains, while the Salish and Kootenai Indians lived in the western valleys, traveling over the mountains in search of game and to hunt the great herds of buffalo on the eastern plains.

The majority of early European explorers came to this area in search of beaver and other pelts. They were soon followed by miners and, eventually, settlers looking for land. By 1891, the completion of the Great Northern Railway sealed the area’s fate, allowing a greater number of people to enter into the heart of northwest Montana. Homesteaders settled in the valleys west of Marias Pass and soon small towns developed.

Around the turn of the century, people started to look at the land differently. For some, this place held more than minerals to mine or land to farm…they began to recognize that the area had a unique scenic beauty all to its own.

By the late 1800s, influential leaders like George Bird Grinnell, pushed for the creation of a national park. In 1910, Grinnell and others saw their efforts rewarded when President Taft signed the bill establishing Glacier as the country's 10th national park.

This painting has a way to go before completion, but I love the process: texture, aluminum leaf, paint and finish. More to come on this one...

Revisiting a friend

Water and Light

"Morning on the Sound" (24" x 12"). When I create wall art, I sometimes start by experimenting with a brand new idea for the piece. Other times, I revisit an older idea I've already completed but look for ways to create a new oil painting that is both like and unlike the original (hey, Monet did that all the time). "Morning on the Sound" was such an effort. I did a painting similar to this composition awhile back and really enjoyed it -- but the scene depicted was of a coastline on a misty morning. This time, I wanted to go back to the same basic idea but...I've sent a strong east wind and blew the fog away.

"Morning on the Sound" (24" x 12")

"Morning on the Sound" (24" x 12")

My Cluttered World

My "inner studio" behind the curtain...

My "inner studio" behind the curtain...

I've Been Busy!

This photo shows what a slob I am. "Santa's Workshop" has never been busier, with 21 oil paintings currently underway (that's more than I ever have worked on at one time). I'm SO THANKFUL! I'm working right now on several commission pieces and a dozen new landscape and abstract paintings for my Asheville studio wall. Okay, enough social media...back to work. —

Beginning my "marathon" painting: Cullasaja Falls

Where do I begin?

Because my panel is actually larger than any canvas I can get my hands on, I had to prep the panel itself to receive the texture, inventing the gloppy substance that will readily receive the texture I will apply. So here's the recipe:  1 c. gesso, 1 c. wood glue, 1 c. modeling compound plus a tablespoon of secret sauce. Mix thoroughly (no tasting), pour into paint pan and roll on the panel. Viola! (see -- half artist, half mad scientist). 

Puzzling and Playing

"The first assembly"

"The first assembly"

Assembling a Painting

This is the beginnings of a new "intarsia" piece I'm working on. Each piece (there are 76 of them) is cut out, texturized, painted and then assembled and resined. The photo above shows the first actual assembly of the piece before the first layer of paint was applied. Photos below are just a couple to show what they look like with the first layer of paint. They will get several more layers of paint...so stay tuned. 

First layer of paint

First layer of paint

First layer of paint

First layer of paint

"How do you get the aluminum on the painting?"

Aluminum Leaf Application

My big new tropical fish / giant kelp painting is basically half done now with the application of the aluminum leaf (and I haven't even begun to apply the paint). That's the next step but the hard work is now complete. Painting is the fun part.