Balloon Dog (Blue) New Hoover Convertible, Green, Blue; Doubledecker 1994-2000, Jeff Koons 1981 - 1987, copyright Jeff Koons The Broad, Los Angeles Whitney Museum of American Art I sometimes find myself wandering through a museum or gallery with a friend. We’ve been having a great time, but as we round a corner, my companion just stops. The look on their face changes. A shake of the head followed by that classic line, “I don’t get it. What makes this good?” It’s a fair question. The variety of ways to create art and the issues artists explore have grown and evolved in tandem with the development of today’s complicated world. There are undeniable benefits and challenges of living in this era. In today’s world, an artist’s work is limited mostly by their imagination and resources. Unfortunately, one of the side effects of almost limitless creativity is work that challenges traditional ideas of what can be called Art. I often think of my husband and father at the Whitney Museum of American Art staring at Jeff Koons’ New Convertibles, Red Green, Blue; Doubledecker. To this day it remains their prime evidence that the art world is playing a giant practical joke. “How is this art?” they ask. “Did he even make it? Does this require any actual skill?” Their reaction highlights exactly how complicated this world can be. But here is the truth: the idea that art can be categorized objectively as “good” or “bad” is a myth.. The Myth of Objectivity Categorizing things is part of human nature; it’s a survival mechanism. We learn that running into the road is bad because it’s dangerous. However, if we see a child’s toy in the street or someone who needs help, we pause, look, and realize the context has changed. We step into the road. Art, not unlike many of life’s daily events, deserves the same pause. While artists, critics, gallery owners, art historians, and collectors will happily declare the merits of a piece, those judgements are not objective truths. They are opinions shaped by a specific lens and they have no bearing on your personal taste. It is important to let go of the idea of good and bad in art because “good” and “bad” are moving targets. They depend on culture, tradition, and “rules” of an era. Throughout history the world has become more and more connected. Certain visionary artists, scientists, philosophers and businessmen began to experiment with concepts discovered through progress and exploration. Art can create new means of expression by adapting novel styles and concepts into its current language. These new ideas have often challenged cultural norms and created hostility from the public and experts alike. Whether something is “visionary” or merely “disruptive” usually depends on who you ask. How you perceive a piece of art depends upon a variety of factors. Age, cultural background, knowledge, and even mood on a given day can impact how you might view, understand and feel about a piece of art. Add in your profession, income, aspirations, trust of expertise, political views, the flexibility of your mind set, well the list is endless. So, how can you possibly look at any art objectively? Realistically, is it even possible for Art World insiders to be truly objective? No. The Art World is really no different than other groups. These are people, who by virtue of age, education, experience, and perhaps track record, are considered the leaders whose insights and opinions guide the field. They are professionals who have spent countless hours studying and working in the particular area. Reasons for championing certain work over others are as complicated as in any other business. Politics, reputations, etc. are as present in the Art World as in any other field. So how do you, the viewer, and perhaps fledging art enthusiast, navigate this landscape riddled with experts who declare winners and losers and guard their positions with the vehemence of a miser hoarding his treasure? Why the Concept of “Good” Keeps Shifting If you dive into art history, you will see the term “Master” applied to many artists. And there are Masters without a doubt. But even the status of “Master” is changeable. Take the 17th-century Dutch giants, Rembrandt and Vermeer.
It can be stated without controversy that each man was a master of his craft.
The Night Watch, 1642 The Milkmaid, 1657-8 Rembrant va Rijn Johannes Vermeer Rijkmuseum Rijksmuseum What changed? Not the paintings. The brushstrokes remained exactly as they were in the 1600s. What changed were people’s tastes. Rembrandt’s drama is timeless and his broad oeuvre ensures that something will always find favor. But Vermeer was a specialist, and his quiet, contemplative interiors fell out of fashion until the world was ready to appreciate them again. Simply put, trends changed. Even Impressionism, so popular today, was ridiculed well into the 20th century. Its success is thanks to a few persistent dealers who kept the work in the public eye until the world’s "eye" finally adapted. First Look, Pause, and Then Think When you are out looking at art remember that, like everything else, art is subject to trends and fashion. As with any other trend, you can decide if you wish to take part or not. So the next time youIf you find yourself face to face with a piece of art that feels alien, try this: Don’t worry about captions or catalog copy. Don’t worry about what the experts say. Simply look and ask yourself this: What do I feel? What do I see? Your reaction does not need to be an intellectual thesis. Simply take stock of what the piece makes you feel: joy, sorrow, anger, annoyance, serenity, even a vague sense of boredom. And they are all perfectly acceptable. There is no single way in which to view a work of art. The second step is to ask: Why? Maybe you don’t “get” abstract art, but a certain color makes your skin tingle. You may still see the earlier Koons as “just vacuum cleaners” but standing in front of Balloon Dog and you may find yourself thinking, “Wow, this is kind of fun and cool, and sooo shiny and big…” because it’s fun. As I have already said art does not have any single group of standards. Each person brings their own personal ideas, emotions, and experiences with them as they look at art. As a painter I work with my perceptions of the world, but I believe that there must be a point of entry for viewers. If a viewer has space to enter the canvas and find something, which may be entirely alien to my intent, who am I to say their thoughts are invalid? They simply connect with the image through their own experiences. If you find yourself liking a particular style or individual artist, look at more work. You will not necessarily like every example you see, but it can help clarify your feelings. Simply spending time exploring can help you develop an authentic appreciation of art based on your connection to the work. Trust your feelings, rather than Art World valuations, and you will select work that will resonate for years to come. How to Navigate the Gallery: Leave It, Appreciate It, Love It To avoid “overwhelm,” you can divide everything you see into three buckets: Leave It: You do not like it, you do not understand it, or both. This is personal. Just because a friend likes something, great. But you don’t have to. Just walk away. Appreciate It: You recognize the skill or historical importance, but would not want to live with it. This work just doesn’t speak to you in any way. You are the buyer, and it is your desires that matter. You may appreciate an artist’s skills, but the subject matter or ideas don’t resonate with you. Maybe it will not work with your decorating style. This is perfectly okay. Love It: This is that sweet spot where everything aligns. The style, the subject, the feeling. This work resonates. You can’t wait to see it in your home. Even if you can’t afford a “Love It” piece right now, let that feeling guide you to a more affordable piece with a similar spirit. The Bottom Line
First, don’t think about art as an investment; think of it as a connection. Comedian and seasoned art collector, Steve Martin, bought his first picture when he was young. At $300.00 it was a big purchase for him. Decades later, that painting’s market value remains about $300.00. But Martin still enjoys the painting as much as the “more important” works in his collection. To Martin it is the personal feelings that matter, not the monetary value. Art is an expression of one person’s thoughts and feelings, and you are an individual with your own. You do not have to connect with everything out there. You only need to find that sweet spot where the work speaks to you. The art world is vast, and there is something out there for everyone. So, get out there and explore—on your own terms.
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 "Summer, Blue and Ochre" Pastel on Watercolor Paper As I consider my plans for the coming year, I find myself drawn to my older work in pastel. For fifteen years I worked almost exclusively in pastel on heavy watercolor paper. There is a sheer, tactile delight in laying marks of such highly pigmented color onto a textured surface. While many categorize pastel as a form of painting, I have always viewed it differently. To me it is drawing with color. Beyond the “Preliminary” Sketch In the art world, works on paper are often overlooked. Collectors, guided by tradition, can sometimes dismiss them as preparation for “important” oil paintings. However, a drawing or a painted sketch often possesses a fresh lively quality that can vanish from the highly polished finished work. To look at a series of drawings is to watch an artist’s mind at work. Akin to becoming acquainted with a subject, it is a process of discovery through experimentation with line and shadow. Beyond their beauty, these smaller works are often more accessible to a buyer on a budget. A Legacy of Line Why is drawing so often relegated to a lesser status? Historically, drawing plays an important part in the education of artists whose works are in the collections of museums around the world. In the age of apprenticeships, a student began by grinding pigments to make paint, preparing surfaces, such as wood panels, canvas, and walls for painting, and also creating the designs, known as cartoons, for large scale murals found in churches and public buildings. These would-be artists would already have skills in drawing, but under a master the study of drawing would continue. Students would fill notebooks as they learned proportion and perspective. Even after training was complete, artists did not stop drawing. A look through Leonardo’s notebooks reveals the faces of the apostles in his The Last Supper. Later, formal Ateliers would take the place of apprenticeship and formalize an artist’s training. The foundation was that essential stepping stone, drawing. Students mastered spheres and cubes before progressing to plaster casts, and later a live model. This rigorous training created the masters of proportion and perspective and proportion rooted in classical Greece and the high Renaissance. Even “rule breakers” like Degas and Manet received such a foundation. By the mid-20th century, artists had largely abandoned this academic training. With the move away from realism, and in some cases, representational work altogether, drawing became less integral to the creative process. Even when representational work regained popularity, artists did not necessarily use drawing as a part of their process. The Photorealists often projected slides onto the canvas (creating a modern cartoon), and the artist, Janet Fish, considered the arrangement of her still life subjects to be her “drawing.” However, drawing would not be lost. By the early 21st century, the rebirth of the Atelier brought drawing into prominence once again. Today there are ateliers across the United States and in Europe offering the traditional training in painting and drawing. Developing a Personal Language While I did not attend an atelier, my art education was informed by this tradition. I spent more time drawing than painting in my early years, and this remains central to my practice. Whether I am using a brush or a pastel stick, my work is a compilation of hours spent in observation. My process follows a specific progression: Observation: Capturing general shapes and forms to build a composition. Discovery: Identifying what exactly caught my eye in the arrangement. Mark Making: Using a linear language to convey that interest. I’ve always found lines more dynamic than soft shading; they are the structure of my work. Even when painting, I find myself using a pencil to make changes and corrections. Lines carry weight and create form through their thickness, their value (from light to dark), and their density in a given space. The Power of the Mark Each mark communicates something unique. A heavy line creates a boundary or a path for the eye to follow, while a single sharp stroke can be incredibly emphatic. I am particularly fond of layering lines, a technique based on traditional cross-hatching. In pastel, this allows colors to become deeper and more vibrant as they sit atop one another. These active, textured areas are then balanced by the quiet of empty space. I have never aimed for high realism of the ateliers. Working representationally allows me to create art centered on found objects I love, whether they come from nature or human hands. Inspired by the creativity and skill of others, I honor their work even as I explore the links of past and present. These layers of cultural creativity are echoed in the layers of mark making. This work expresses my vision of creativity, while offering viewers space to discover their own worlds. After all, since no two people perceive reality exactly the same way, no single vision can be “correct”. Only authentic. The Art of the Unscripted Experience The first time I visited Italy I was eighteen. For nearly ten years I had poured over art books, particularly those focused on the Renaissance. Now, at last, I would see these paintings, frescoes, and sculptures in situ. While books and reproductions had opened the door, the sheer magic of seeing the art and being in the cities where it was created was irreplaceable. Yet unexpectedly, a portion of that magic emerged through the simple act of wandering. The stonework of an ordinary building could catch my eye as easily as the winter sunlight bouncing off the marble facade of the Duomo. These small fleeting moments become as special as standing before glorious masterpieces. When everything is clickable, why leave home? Today, a simple click can provide information about virtually anything. A variety of perspectives, from the scholarly to the irreverent, opens new avenues of exploration instantly. So, why would we ever leave the comforts of home? While I could offer a catalog of reasons for travel (and probably about as many not to), I wish to focus on just one - the experience. There’s that word, experience. For many years now it has supplanted the acquisition of things. The paradigm has shifted. Instead of buying a throw pillow for the sofa or a beautiful set of dishes, we choose to trek through the Andes snapping selfies amidst the ruins of Machpichu. I am a champion of experiences. Get out there and see the Eiffel Tower of the Grand Canyon. Visit the great museums of the world or that acclaimed restaurant. But what exactly do we mean by experience? It is more than a consumable, packaged with photos to check off a list. Are we sacrificing something as we stand among strangers orchestrating that perfect photo along the Amalfi Coast or the Great Wall of China. Experience is also a powerful verb encompassing the actions of exploration, discovery, and learning. To grant your surroundings your fullest attention is to experience the world in a fundamentally deeper way. Each Time Reveals Something New Thinking of the eighteen year old in Italy, or even the more seasoned traveler, that I am today, how should I approach Florence? Lose the list, wander the city. Pause and breathe. What textures do you see? What scents and sounds fill the air? What memories do they awaken? How does the low winter sun slice across buildings that are centuries old? How does this moment in this space make you feel? Each time I visit Florence a new aspect of the city reveals itself to me. At eighteen I absorbed the art, architecture and geography of the city. Postcards of Art and trinkets from market stalls filled my bags when I came home. Photographs and videos can capture a mere instant. While you will always have that picture, it can never convey the visceral triumph of reaching the tops and gazing out over Florence’s sunlit, terracotta rooftops. Each time I return to Florence, a new aspect of its spirit is revealed. At eighteen I absorbed the art, the architecture, and the geography, returning home laden with postcards and trinkets. That first trip was also marked by an unseasonal cold snap and even snow. As a New Englander, watching the Florentines attempt to clear the streets passable using cardboard, boiling water, and even pick was a memorable, slightly comical spectacle. My return years later in August, found buildings shimmering in a scorching heat. Piazzas were flooded with light, but shadows provided a welcome respite in the narrow streets. Wandering these narrow side streets, revealed new quadrants of the city. Each turn of a corner brought the fragrant promise of hidden enotecas, bustling restaurants, and gelateiras. Mid afternoon often found our family engaged in a now essential ritual of sampling yet another flavor. After all, is there anything better than cold ice cream on a sweltering August day? Now, during the shortened days of December, Florence reveals yet another aspect of itself. With temperatures in the forties and fifties, the Italians are bundled up for winter, but poinsettias and cyclamen brighten the streets in front of shops. As dusk settles, twinkling light displays twinkling emerge overhead festooning one neighborhood after another with glowing warmth. Although it is December, the rich scent of leather spills from open doorways and beckons shoppers. As we wander in and out of these shops, we chat with artisans and sales people happy to share their rich heritage. While some of these stores are firmly planted in traditions of generations of skill, others offer contemporary styles created with the same care and artistry. Become a Wanderer You can never predict what you will discover by stepping off the well worn path. By choosing the back streets over the main thoroughfare, you can glean a richer understanding of an area than any tourist spots can provide. Once, while in search of a specific shop, we were enveloped by the most enticing scent. Suddenly,the pursuit of the shop vanished; all that mattered was locating the source of that glorious aroma. We soon found ourselves standing before an unassuming restaurant securing a dinner reservation. That spontaneous discovery and the subsequent meal remain one of our most treasured travel memories. We have recommended the place ever since. Oh, and that original store? We never did get there. But the trip was all the richer for the unexpected detour. Traveling with Children: an Opportunity for Unscripted Moments Children are fundamentally wired for adventures, but weaving them into an adult itinerary need not be painful. When my daughter was ten we visited Italy, and her singular focus - thanks to Percy Jackson - was the Coliseum and the Roman Forum. While the Vatican failed to captivate her, the numerous fountains of Rome did. In the summer heat, we were constantly grateful the ancient Roman waterworks were still in working order. Traversing the city became a perpetual hunt for the next spectacular fountain. Photo opportunities and the necessity of refilling our water bottles became our daily rhythm. Every evening we made a point of stopping at a particular fountain adorned with stone lions before returning to the hotel. Years later when my daughter returned to Rome on her own, she searched for and found that same lion fountain. The unscripted moment had become a ritual. Wait a Minute, Isn’t This Supposed to Be About Art? Of course. But what, truly, is art? It is an act of creation, a way to convey ideas, feelings, and experiences that transcend words. Every moment, good, challenging, and even seemingly mundane, impacts. The crucial difference lies in how we assimilate these adventures. Experiences can remain a cold checklist of photo-ops, broadcast for all and sundry. Or they can be so much more. They can be exhilarating as we reach a mountain summit, or quietly reflective as we sit in the timeless presence of a painting within an ancient church. Perhaps the experience is the simple comfort of smelling freshly baked bread or the rich sensory memory evoked by the scent of leather and paper, even as a new journey begins. As much as I love high art and culture, the unscripted moments are as essential to my memory as seeing the Sistine Chapel, Monet’s Water Lilies, or any other masterpiece. It is those unexpected, off-book experiences that you will remember and recount years later. Each of my four trips to Florence is held distinct in my mind by singular memories of light, color, sound, and scent. Every day presents an opportunity for discovery. It is easy to see that when everything feels new and exotic, but the unexpected can be found in more ordinary places as well. The Daily Magic of Home As I sit here writing this, I find my eyes wandering to a certain corner of my dining room. On this early December day, sun and clouds are in a perpetual struggle, and winter’s presence is undeniable. There is something, indefinable yet persistent, that tugs at my awareness. So, I simply stop, sit, and look. After all, you don’t need to travel far and wide to cultivate experience. Sometimes there is an abundance of magic to be found right at home. When I was in graduate school, my professors often questioned painting's relevance. "Do we really need another painting?" they'd ask. Even then images dominated our lives. From movies to advertising to fine art pictures were an integral part of society. These experts insisted there were many other, more "up-to-date" ways to make art. Today, that question feels even more urgent. Our lives are now dominated by a constant stream of images on TikTok, Instagram, YouTube, and more. We are oversaturated with entertainment and information, with some posts viewed by more people than we will ever meet. So, why do I still paint? The Simple Magic The most honest answer is that I paint because I love it. My love for art goes back as far as I can remember. I drew, colored, and painted my way through childhood. Before ever stepping into a museum, I spent hours lost in my parents' art books, or those found in the local library. To me, there is still something utterly magical about using only line and color to capture a moment or express an idea. Years later, I hold onto that same feeling of wonder when I look at art from across the globe. While I often discover artists whose work would have gained admiration from those professors, I cannot imagine creating such work. The path I follow centers on a more traditional approach. Focus: Rooted in the Everyday Every picture I create begins with an idea or inspiration—sometimes nothing more than a simple glance out the window or a sudden thought about combining specific colors or textures. But my ideas are always firmly rooted in my everyday surroundings. Next, I turn that initial spark into a still life arrangement, which can be a time-consuming part of the process. The objects, colors, and shapes have to work together in a way that truly captivates me, but also leaves room for questions and exploration. I love patterns and textures, and I especially enjoy combining things like natural objects found on a walk with something manmade. Take "First Daffodils," for example. It uses just a few objects, but look closer: the smaller shapes inside each form create a visual pathway. Circular forms are repeated throughout this simple composition—the rounded pink "splodges" (a highly technical term, of course!) echo the deep blue dots on the vase, and the dark centers of the daffodil trumpets continue that path of circular shapes.  “First Daffodils” 2024 Fun Fact: The "vase" is actually a beautiful cookie tin I couldn't bear to throw away. It may or may not have been the main reason I bought those rather expensive cookies! Exploration: The Story of Small Things I fill my paintings with my personal possessions. Some objects are used daily. Often I include materials found in my garden, or bits and pieces I've collected over the years just because I liked their shape or how they felt in my hand. These small things and incidental moments in everyday life are the central idea in all my work. Often, I don't realize exactly what drives me to choose certain objects until I begin painting. This is where the exploration truly begins to take over. As I paint, I am actively trying to discover and explain the concepts behind the still life composition I built. Each arrangement becomes an entry point into an investigation of space, color, and form. Exploring how these objects interact allows me to create the underlying structure that breathes life into the picture. I also want the painting to be a space where I can lose myself in the development of a visual language. I believe that a large part of my job as a painter is to create a world that first offers the viewer an entry point, and then draws them in so they can lose themselves in the same simple, small moment that captivated me. Curiosity: Letting the Painting Speak In thinking about why I paint, I realize that curiosity underlies everything else. Ideas wander through my mind. A flash of light or color is lodged in my brain, and I need to figure out why. I might ask myself: Will adding this piece of glass make the final image more interesting? What feelings emerge as I work? What should I emphasize or even eliminate? As the painting progresses, it becomes its own singular entity. I sometimes liken it to raising children: you have ideas about who they will become, but ultimately, they become their own people. If some part of the arrangement, such as the pattern on a fabric, doesn't add to the painting’s evolving direction, it’s alright to let it go. The painting has become its own entity, separate and unique from the still life model. That's just fine. After all, the whole process is one of focus, exploration, and curiosity. Finally, a Language Without Words For me, painting is a form of language, a way to express ideas and values that I simply cannot find the words to convey. Making a painting allows me to share what I see as beautiful or interesting about my small piece of the world. The arrangements are only a starting point. What I see is not just a flower or a table, and this is where words fail me. The patient process of looking, exploring, and making marks slowly reveals what truly intrigued me about the objects in each composition. Every part of the finished work should offer something to the viewer. The subtle brush marks are just as important as the color or the form. Every item plays a part. Each element contributes to the final ideas and feelings of the viewers. A painting is complete when I feel that I have successfully laid a clear path of my own, but have also left plenty of room for you, the viewer, to explore and make discoveries of your own. Part of the joy found in looking at art is the discovery of ideas and feelings created by your experience. As long as my work can evoke emotions or ideas, then my paintings are doing their job. And, for me, that means painting is still a relevant form of art. Today, we live in a world saturated with media. It’s a constant presence that can make us forget that just a century ago, things were drastically different. Movies were silent and in their infancy; radio broadcasting was brand new. Before then, people relied on the written word, in-person communication, and art to learn about their society’s history, culture, values, and laws. Let’s take a moment to step back into a more distant past where only a handful of images remain to tell the story of the world. The Foundation: Before Writing There Was Art We know little about the earliest human societies, largely due to a lack of written language and few surviving artifacts. Oral tradition was essential for passing down rules, customs, and stories. But how could these foundational ideas and narratives maintain consistency without a permanent written record? Art and artifacts provide a compelling answer. No one knows exactly when people first began using paint, clay, and other materials to form images, but the evidence is stunningly preserved in early cave paintings. These dynamic works, found in caves from Europe to Oceania, often depict a wide variety of animals in motion and sometimes overlapping. We also see outlines of human hands, created by blowing pigment over a hand pressed against the wall. The true meaning or inspiration behind these works remains a mystery, but the underlying ideas must have been vital. People took the time and effort to locate and create these images in places where the work would remain intact, allowing for repeated visits and additions over time. Written and Visual Records: Egypt, Greece, and Rome The creation of images remained important even after written languages developed. Great ancient cultures, including the Egyptian, Greek, and Roman, created both written and visual records that offer a rich tapestry of their history, beliefs, and societal ideals—creative reflections of the human spirit. Each culture developed a distinct artistic language:
A New Narrative: Art and the Church in the Middle Ages When the Roman Empire fell in 476 CE, western Europe fractured into many small regions. The empire had been vast and multicultural. A mighty administrative state had provided order and consistent laws throughout Europe. When this powerful force dissolved, nothing remained to unify the empire. Eventually Christianity would step into this gap, but it would take centuries to build the administrative network, educational system, and loyal adherents that would develop into a political and spiritual institution. As Europe moved through what is considered the Dark Ages, societies were rebuilding identities and the Catholic church was growing into a powerful, unifying force. By the 10th century both the Church and urban centers had reestablished themselves enough to provide stability and growth. In stronger urban areas guilds of craftsmen, including artists developed. These guilds set standards for workmanship and pricing. They also saw to training through apprenticeships. The Catholic Church would provide employment for these master craftsmen through building and decorating many churches and cathedrals. Art was an invaluable tool for the Church, and Europe is filled with examples of art created to reaffirm the Church's ideals, with messages focusing on the symbols and narratives of the Christian religion. A spiritual message was prioritized over the physical realism of the individuals or places depicted. In a world where life was tenuous and hope often scarce, faith in a greater power could provide order and comfort. The Rediscovery of Man: Art in the Renaissance As societies became more stable and prosperous, kings, lords, and a growing class of merchants and craftspeople began to amass wealth and power. Education became available to men outside of religious orders. Coupled with technological advances, this shift encouraged scientists and artists to contemplate humanity's place in the world. Slowly, "new" ideas about science, philosophy, the individual, and the arts emerged and spread among the elites. Today we still learn about both individuals and their achievements that further advanced society in a variety of ways. The Sistine Chapel ceiling is a spectacular example of these ideas in action. Until the early 16th century, the ceiling was a simple ultramarine blue painted with gold stars. When Pope Julius II commissioned Michelangelo to repaint the vault, the artist delivered a remarkable fusion of the traditional and the innovative. Michelangelo's images of the God’s Creation of the World, biblical prophets, and ancient oracles grounded the human-centric philosophy of the Renaissance in vivid imagery. He infused the traditional religious narrative with the idea of humanity’s individuality and intellect. For instance, in The Creation of Adam, the power of a creative God is clear, but so is the profound individualism of Adam—a physically idealized, yet distinct, man. Art for the People: Portraiture and New Genres Art was also a tool for civic leaders. Public buildings in Italian city-states were decorated with murals celebrating victories. Powerful men commissioned portraits and allegorical works to ensure their skills, beliefs, and significance were known contemporaneously and for all time. As scientific discoveries and global exploration created opportunities for more people, the secular ideas in business, innovation, and learning became a driving force in society. Individuals, including artists, became recognized for their individual talents and acumen. With this economic development, a new customer base would arise and artists could now fill the marketplace with new types of paintings like landscapes, interiors and still life painting. While religious subjects could still be commissioned, artists were increasingly able to focus on secular themes such as portraiture and genre painting. As artists began to be individually recognized, the guild system would vanish. Formal training continued, but now in academies. Annual exhibitions, complete with vetting committees and awards, provided young artists the opportunity to be introduced to potential clients. For young artists this training ground became a vital path to ensuring the success of promising young painters and cementing the prevailing artistic taste of the time. Approved styles and standards were adhered to until well into the 19th century, but the expansion of painting categories provided room for individuality and ideas. Eventually a series of rapid stylistic developments and artistic experimentation would erode the strength of the academies. These changes in styles and artistic experimentation continue today with artists expanding the category of “Art” in new ways. While this can be bewildering at times it represents one of mankind’s greatest strengths, a creative and ever evolving intelligence. Speaking the Language of Art: It Doesn’t Have to be Complicated
Have you ever become caught up in a book, a movie, or even a piece of art? Have you said to yourself, “This is so fascinating. I’d just love to have a conversation with the creator.”? If you have, I am sure you are not alone. While most of these thoughts will remain daydreams, meeting a living artist, even a famous one, is more accessible than you might think. The easiest way to meet artists is to attend art events. Galleries host openings for new shows, which are generally attended by the exhibiting artists. Art fairs are larger events, ranging from local fairs, where artists manage their own booths, to huge, multi-day extravaganzas featuring galleries from all over. The artists themselves may not be as easy to find at the larger of these. Quite often the best place to truly get to know an artist is at an open studio event. Here, you will meet the artist, see a wider variety of their work than you would in a gallery, and perhaps even glimpse the creative space - “the room where it happens.” Sounds exciting, right? But now you are standing in a studio, surrounded by amazing work, and the artist is nearby. You are not sure how to move beyond vague statements like, “What a great day for this,” or “I like your work.” Believe it or not, there is a good chance that the artist, your host, is as unsure of what to say next as you are! Art as Communication “If you could say it in words, there would be no reason to paint.”
Think about that quote for a minute. Like speaking and writing, art is a form of communication. Its language, however, is visual. It is a way for the artist to tell the world something that simply can not be conveyed in any other way. On their surface, Edward Hopper’s paintings depict buildings and people of his era. After spending time looking at Hopper’s work, feelings, ideas and questions begin to emerge. These thoughts often contrast with the calm and quiet images we see. Hopper created an emotional undercurrent through the specific visual choices he made, and this contrast is an important aspect of his work. It is also difficult to imagine a verbal language that could truly express the complex emotions that resonate when looking at his paintings. A Language Without Words Artists spend their days alone thinking and creating with materials not words. Their language is expressed through light, value, structure, form, scale, color, texture, canvas, paint, clay, metal, and so on. The resulting artwork may be representational, using imagery and symbols to help the viewer understand the artist’s message. However, art does not always have a clear narrative. Sometimes it engages your senses and emotions before your intellect. As you first look at a piece, your initial reaction might be driven by the scale, the colors, or the texture. Joy, awe, confusion, or peace, these feelings can flood your mind and leave your brain scrambling to catch up. You might not know why you feel drawn to the piece, but you don’t want to move on. You hope that the artist nearby can explain what has such a hold of you. But if they say nothing, you might not know how to ask. I have experienced both sides of this awkward silence, and it can be painful! Take the Time to Let Art Speak to You First and foremost, remember that the artist’s purpose is to communicate with viewers. Each work conveys ideas and shares the creator’s thoughts, which is a constant across centuries of shifting of styles. All art forms, every novel, song, movie, painting, sculpture, etc. has something to say about humanity and the world around us. These can be personal or universal, penetratingly deep and intimate, or celebratory and frivolous. But you, the viewer, also play a part. What you see and think will be influenced by your own experiences, background, and even your mood. So how do you gather your thoughts to begin a conversation?
Beginning the Conversation A conversation needs to engage both sides. If your questions are too broad, a conversation can quickly falter. If you open with, “Your paintings are so colorful,” an artist might simply say, “Thank you.” Instead make the question more directed: “I find your use of color fascinating. How did it become such a focus in the series?” By offering a distinct topic (color) and directing the question towards the artist’s process, you have simultaneously demonstrated positive interest and provided a structured opening. People generally love to talk about their passions. Even reserved people can talk for longer than you might expect if they’re properly encouraged. Think of the conversation as a chance to explore and make connections with both the work and the artist. Tips for Engaging the Artist
Any of these topics can draw an artist into a fruitful conversation:
In Conclusion By listening and asking questions when needed, you can learn about an artist’s ideas, techniques, and what is important to them. Learning more, particularly from the artist, can expand your enjoyment and deepen your appreciation of art. With more exposure will come more knowledge and comfort with the language of art. Shop with Intention: Finding the Perfect Piece for Your Home
You've already started your journey by exploring the art world and setting a budget. Now, you’re ready for the fun part: shopping for art! As you begin this exciting process, here are a few things to keep in mind to help you avoid missteps and make more successful purchases. Explore Local Options Start by spending time in your area. Look for local artists, galleries, and art societies. You might be surprised by the number of resources available close to home. The internet is a great tool for discovering what's around you. Beyond traditional art galleries, you can also check out frameshops or even fine jewelry stores, which sometimes showcase original works by local talent. Many communities have local art societies that host classes, art talks, and events like art fairs. These events are fantastic opportunities to meet a wide variety of artists with different styles. Galleries, on the other hand, typically have a more focused vision. A quick look at a gallery's website can give you a good idea of what to expect, so you don't waste time visiting a space that doesn't match your interests. Galleries often have scheduled rotations of solo and group shows, and their websites will list receptions and artist talks, which are great for connecting with artists and gallery representatives. Art fairs and Open Studios These venues two major advantages: you'll see a huge variety of artwork, and you can meet the artists themselves. Having a conversation with an artist is incredibly valuable, as you can learn about their methods, ideas, and personal style. Some artist groups and societies also sponsor open studio weekends or special seasonal exhibits, which can be great places to find art at more accessible price points. When thinking about what "local" means to you, set a comfortable radius. For some, it might be a 30-mile drive, while for others, a 90-minute trip is perfectly fine. A little research might reveal exciting art just outside your immediate area that's well worth the travel. As you get more comfortable, you can always expand your exploration to more prominent galleries further afield. Make a Shopping List As you learn about local artists, take a good look at your own space. Consider each room and where you might want to place artwork. List potential spots in each room, noting the size and lighting of each area. This will help you find a piece that suits the space. Imagine the disappointment of bringing home your first piece only to find it's too big or too small! While keeping your personal style and color schemes in mind is important, another interesting approach is to consider a theme. If you plan to build a collection over time, a theme can provide a framework to guide your choices. Themes can be broad or narrow. A broad theme, like "artwork about the American West," could include sculpture, painting, drawing, and prints, offering a huge array of choices. If this feels overwhelming, you can narrow the theme by budget or personal interest, such as collecting paintings by emerging artists who depict landscapes of the American West. You can also develop different themes for each room. Maybe you want to focus on black-and-white prints in one room and something entirely different in another. Or, you could select a single concept for a room, like a food-related theme for your kitchen or dining room. Your options are as broad or narrow as you wish. However if something unusual catches your eye, take note and give it consideration. A work may be outside your plan, but if it catches your attention, it may be something worth your serious consideration. Final Thoughts This preparation will be invaluable and help prevent the experience from feeling overwhelming. It may take some time to find art that fits your taste and budget, so take your time and trust your instincts. Make connections with galleries and artists that appeal to you. Even if you aren't ready to buy, keep checking in. You'll learn more about the art and build relationships, which will make the purchase process much more enjoyable when you're ready to buy. Bringing Art Into Your Home Part 1: How to Discover What's Right For You There's a common misconception that original art is only for the wealthy. In reality, a vast world of art is accessible, even if your budget is modest. With an incredible array of styles and places to explore, original art could be gracing your home sooner than you think! Does that sound exciting, but maybe a little overwhelming? Don't worry, you're not alone! Before diving in, a bit of thoughtful planning can transform the experience from intimidating to truly enjoyable. Let's start with two key guides: budget and style. Budgeting for Your Art Collection While planning a budget might not sound like the most thrilling part of the process, it's incredibly important. Knowing what you're comfortable spending will help you narrow down where to shop and what to look for. Most importantly, it'll help you relax and truly enjoy the journey of finding art that speaks to you. If you fall in love with a piece, does it really matter if it costs a hundred dollars, a thousand, or even ten thousand? The price shouldn't dictate your enjoyment; you'll be living with and appreciating this art every day. So, consider your disposable income and how much you're willing to set aside for art, and how often. You don't need a huge sum to get started; buying art is genuinely possible for many people. Even if a piece you adore is a bit more than you expected, don't give up! Sometimes, payment plans are an option, or perhaps a preparatory sketch for the final pieces is available. Prints can also be a fantastic entry point into the art market. A signed and numbered print that truly connects with you will bring far more pleasure than an oil painting you choose just because it fits your price range. Discovering Your Personal Style This is where the real fun begins, though it can feel a little daunting with so many art forms out there. If art is a new interest, an excellent place to start exploring is your local museums. Yes, these are world-class collections that few could ever afford, but they offer an unparalleled opportunity to immerse yourself in a broad range of artwork. This exploration will build your knowledge and confidence when you're ready to buy. Make time to visit museums multiple times. No one, not even seasoned artists, can take in an entire museum in a single day! As you browse, pay close attention to what genuinely draws you in. If certain types of paintings consistently capture your attention, that's a strong clue about the style you might want to look for when you're ready to purchase. Conversely, if certain art forms don't resonate with you, that's perfectly fine—don't worry about it! It's rare to find someone who genuinely loves every single type of art. As you identify favorites, consider buying postcards from the gift shop. They're an easy way to remember what you like, and you can even jot down notes on them. As your collection of postcards grows, you will start to notice patterns and gain a deeper understanding of your personal taste. This might be as simple as a preference for landscapes, dramatic lighting, or even a newfound interest in abstract painting. You might discover that color is incredibly important to you. Another fantastic reason to visit museums is to observe how artists have been influenced by the masters who came before them. Sometimes these influences are obvious, and other times they're subtle. If you have the chance to chat with an artist, you might learn they've spent hours studying the quality of light in paintings you've admired. Such personal exchanges can strengthen your connection to an artist’s work and clarify qualities that you look for in your personal collection.. While many museums now offer online collections, there's truly no substitute for seeing original art in person. Museums often have tours and talks led by knowledgeable docents at specific times. This is an incredible opportunity to deepen your understanding of art. A richer knowledge will help you speak more confidently with gallery owners and artists, and as you learn more, you'll begin to grasp the structure behind the work. This insight will empower you to make truly wise choices. Imagine finding a painting in your preferred style and subject matter, but something about it just doesn't feel right. If you can't quite pinpoint why you don't like it, trust your instincts and keep searching. Even when you can't articulate it, you've learned more than you realize during your museum explorations. Ready to start your art journey? Have you ever thought about bringing a truly special piece of art into your home? While prominent museums and esteemed galleries often define our initial perception of art, showcasing significant and often costly works by established figures, the realm of original art extends far beyond these institutions. It is a vibrant and accessible world for anyone with an appreciation for creative expression.
These days, art is readily available, waiting to be discovered. Independent galleries and artist-run cooperatives champion local talent. Regional museums and art societies host regular exhibitions with a diverse range of talent (sometimes even from around the world!), and exciting art fairs where you can even meet the artists themselves. And of course, the internet opens up a global marketplace of artwork right at your fingertips. Given this accessibility, a thoughtful art enthusiast might consider the distinct advantages of acquiring original artwork over mass-produced reproductions. 1. Original Art Personalizes Your Environment: Similar to carefully chosen furniture, art adds a unique decorative element and a real sense of your personality to your home. Your home should reflect what you love and what's important to you. The artwork you choose can bring visual excitement to a room with its colors and style, create a specific mood, or add a captivating touch to a more subtle space. Take your time to explore what truly resonates with you, and you'll enjoy it for years to come. 2. Art Enriches Beyond the Aesthetic: Think of art as a gift that keeps on giving. While ephemeral pleasures like a morning coffee or those new shoes might bring immediate satisfaction, they won't last forever. The artwork you discover in a local gallery or on your social media feed can bring you lasting pleasure once it's hanging in your home. Always choose what you genuinely love and what fits your budget. You might be surprised to find that a beautiful limited edition print or even an original painting can be within your reach. And while there are no guarantees, your art could even increase in value over time! But even if it doesn't, the daily connection you have with a piece you love is priceless. 3. Discover a Story That Speaks to You: Each artwork has its own unique story, capable of eliciting a singular and personal response. Whether this story manifests as a clear narrative or simply evokes an emotional connection, you'll react to the individual qualities of the piece. Once you bring a piece of art into your home, its story expands with your own feelings and the context of your living space. You might even find multiple layers of meaning over time. Perhaps you discovered the piece during a memorable vacation, or maybe you're simply drawn to its colors and style. You gain a truly special piece that resonates with you. 4. Direct Support for Creative Professionals: Individual artists are essentially small business owners, and every purchase you make directly sustains their creative endeavors. Consequently, you'll often experience attentive customer service. Galleries and artists prioritize ensuring buyer contentment and fostering trust, aiming to cultivate long-term client relationships. You might even have the wonderful opportunity to meet the artist and learn more about their inspiration and their journey. This kind of personal connection can deepen your appreciation for the artwork for years to come. 5. Original Art as a Sustainable Choice: While the convenience and apparent cost-effectiveness of mass-produced prints from large retailers or museum shops may be appealing, these items often carry hidden ecological costs. Manufactured in large quantities in overseas factories, they can involve lower-quality materials, and their extensive production and transportation contribute to environmental impact. These items are also likely to be found in countless homes and offices, emphasizing mass appeal over individual connection. If a mass-produced item attracts your attention, consider the underlying reasons for this appeal and then explore your local art scene. You might even discover artists who use recycled and repurposed materials in their work. Choosing a more unique and personal piece of art could speak to you on a deeper level, and you might even get the added bonus of meeting the artist. Acquiring original artwork might feel intimidating at first, but it is ultimately a personal journey accessible to anyone. A diverse range of styles and price points exists to accommodate individual preferences and budgets. Simply take the time to browse and discover what truly speaks to you. If you fall in love with a piece that's a little outside your current budget, don't hesitate to ask about alternatives. There might be smaller works or limited edition prints available. Ultimately the choice is yours. Select art you personally love, and you will continue to enjoy and connect with it for many years to come. While I tend to be introspective, I have never formally set about this task. In order to set my course for 2025, I have been reflecting on the past year snd considering my next steps. It has been almost a year since I began to focus solely on painting. As I look around my studio, I can see visible gains. Here are three things I learned in January...
1. Steady work yields results. As a person who can easily self-sabotage, my commitment in March of 2024 was to treat painting like a job. I would (and did!) show up in the studio at least five days a week, 9-5. I credit this practice for the improvements in my painting skills and to a continued flow of ideas. 2. It's ok to start small and simple. I started in late March, so the emerging plants provided potential subject matter. I wanted to work with something interesting, and the idea of flower "portraits" provided a good format. I could focus on a subject's form and color, leaving the background simple. 3. Immersing myself in work can yield a variety of results. As the year progressed, I began to look at a broad variety of artwork, including contemporary artists. In doing this I discovered podcasts and interviews. I often listen to these as I work or prepare dinner. I often hear someone articulate an idea that I have been struggling to clarify in my own mind. Another happy result was that, by autumn, ideas of how to approach a problem would pop into my mind, quite often outside my studio hours. As I reflect on my success, I realize that what seemed like a huge goal - to treat my painting like a profession - boiled down to showing up and putting brush to surface consistently. I have often heard that winning can breed more wins. With that in mind, I am working on goals for 2025. |
AuthorAs an artist, I draw upon countless hours looking and thinking about art, architecture, and design. Here are personal thoughts about creativity and culture. Archives
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