Archives for May 2021

Solo Museum Exhibitions

Michelle Jung · May 24, 2021 · Leave a Comment

*Kiss Me in the Morning* by Michelle Jung
36″ x 58″

Refine Your Motives

If the career path of plein air painting shows, art fairs, or gallery representation does not appeal to you, consider a museum exhibition. The dream of a solo museum show may seem unattainable, but with planning and determination, it can be done.

During the final semester of my MFA, I was asked to prepare a one-year, five-year and ten-year career plan for my journey to becoming a professional artist. In hindsight, the planning process helped me to minimize wasted time floundering around the artworld. A clear path from A to B gives you results.

My first-year goal was to organize my image (or brand) as an artist so I would be taken seriously. Having a portfolio of work, resume, biography and social media presence was essential. At the beginning it was not a strong presentation, but it was an important start.

Build Your Audience

During the next five years, I focused on building my resume by joining national art organizations (like OPA) that had tiers of membership and competition. The experience of applying, preparing and attending the shows began awkwardly. This is expected. The more you apply, the more experience you gain, raising the bar of your work and presentation.

Social media is a must! Yes, it is always changing. Yes, there is politics. But it is important to learn how to adapt, to be consistent, and to keep informed of what your peers are doing. It has also been my number one source of new clients and sales. The more you engage in it, the better you get at communicating with your audience. Social media is in fact how I caught the eye of the museum staff. I noticed they were liking my posts, so I prepared an inquiry for a potential exhibition, which eventually led to an in-person meeting with the director.

Believe In Your Professionalism

*Silent Watchers* by Michelle Jung
36″ x 48″

The preliminary meeting with a museum director is easy if you have done your work in advance. I recommend a body of work (20-30 pieces), a resume, biography, letters of recommendations and published articles. The time you spend with the director and viewing the space is more of a moment to discuss timing. All museums have agendas that precede exhibitions by at least three years. Whether you fit in their agenda is their call. A rejection is not about your work necessarily. It may be timing. Rejection and reapplying are norms in this pursuit. Once you understand that concept you will be more open to museum opportunities.

Preparing For The Big Show

*Rocks and Surf* by Michelle Jung
36″ x 36″

The time from acceptance to the exhibit is typically 3 years. Developing the body of work and not selling it in the meantime has its challenges, including storage. In my case, the majority of the work was already finished and framed in museum-quality framing. I hung the work in a lower-level gallery in my studio. This way I could see the entire show as it developed over the years. If a client came to buy a piece, I told them it was reserved for a show. Some pieces I entered into group exhibitions or contests to see how they were received.

Every year I contacted the director to check in. Six months before the opening, the director sent a floorplan and a list of dates when things needed to be submitted, such as the name of the exhibition, an updated biography, artist statement and images. I created a list of dates and checked them off as I completed them. At the same time, I began advertising, social media posts, and connecting with collectors to let them know about the show dates and purchases.

In Conclusion

In conclusion, my pursuit from the beginning was to exhibit my art in museum settings. It may not be your path, but you can use the same steps for your own career. Create goals, do the work and keep focused. After seven years, I was offered my first solo museum exhibition. Three years later, it opens this June through September. What’s next? Finishing up a new body of work and laying out a new goal plan.

To see more of Michelle’s work and to learn about her upcoming exhibition Making Waves: A Solo Exhibition at the Santa Paula Art Museum, visit www.michellejungstudio.com

The Power of Metaphor, Mystery, and Memory in Painting

Stephanie Deshpande · May 17, 2021 · 7 Comments

*Containment* by Stephanie Deshpande
40″ x 30″ – Oil on canvas

Creating a successful painting not only requires focus on technical skills such as drawing, color, values, edges, and composition, but also on emotional impact. Incorporating metaphor, mystery, and memory into your work will help develop a dynamic image that resonates with the viewer.

Metaphors

“A visual metaphor is an image that the viewer is meant to understand as a symbol for something else. Visual metaphors can be obvious, subtle, funny, or scathing, but they form a nexus of imagery that artists have used across the centuries to help communicate information without words.” (What does imagery mean? https://www.omniverse-plastikos.com/top/what-does-imagery-mean.html)

Visual metaphors can add depth and meaning to a painting and create food for thought for the viewer. Also, through the process of creating these metaphors, artists often form a deeper connection with their artwork.

*Still Life With Fruit* by Stephanie Deshpande
9″ x 12″ – Oil on canvas

In my painting, Containment, I chose snakes as a metaphor for anger and internal emotions. The woman tries to contain the snakes in a canister, but they spill out onto her arms and table. I used snakes to portray her internal struggle, which would not be easy to depict from facial expressions or body language alone.

In Still Life with Fruit, I placed the fruit in a way that creates an unusual tension and suggests a deeper narrative. Since I did not have the human subject matter I needed when I developed the painting concept, I used metaphor to express my idea instead. I positioned fruit in a way that alludes to a particular dynamic between people. Instead of being hindered by limitations, let them inspire your creativity!

Mystery

*Joker in the Pack* by Stephanie Deshpande
24″ x 30″ – Oil on linen

Unanswered questions and unexplained circumstances can help create a sense of mystery. Try incorporating something unusual in your painting, and leave the viewer guessing about its meaning or connection to the narrative. You will create interest by leaving something for the viewer to figure out.

When I first started painting, the mysterious quality of Balthus’ paintings influenced my work. His paintings intrigued me because of the psychological drama and unanswered questions. He explained his approach by saying, “I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always with a slight touch of mystery in my paintings.” (https://www.theartstory.org/artist/balthus/)

*Assembling The Pieces* by Stephanie Deshpande
24″ x 30″ – Oil on linen

Alan Feltus is another artist whose work has a sense of mystery and hidden significance. In his memoir, he explained that “it would be wrong to paint mystery in a deliberate, conscious way. Subconscious imagery lives within a person’s mind on a subtle level, and I would have to find it as I worked on paintings, allowing it to emerge almost on its own. I wanted imagery that would work as an unreality in which things didn’t have to make sense in terms of real space or the laws of gravity.” (Home [www.alanfeltus.com]. http://www.alanfeltus.com/)

*Conversations* by Stephanie Deshpande
24″ x 30″ – Oil on linen

Viewers often question what is happening and what the figures are discussing in my painting, Conversations. The unanswered questions keep people engaged, trying to guess the answer. The painting encourages the viewer to bring his or her own perspective and experience into the narrative.

Since my own memories and private speculation fuel my work, a sense of mystery often occurs naturally. I am not so much trying to tell a story as I am reflecting on experiences from my own life. Like a work of fiction, the external narrative shrouds my perspectives.

I would not recommend trying to manufacture mystery in your artwork because it may come across as contrived. Instead, let it manifest naturally as you work on your painting. If you choose a subject matter that is personal, or close to your heart, you may be more inclined to conceal the aspects that make you feel vulnerable. Your secrets will likely create ambiguity and intrigue.

Memory

Another element that can enhance your work is incorporating your own personal connection to the image. Letting memories inspire your art can play a similar role as mystery, but it originates from your unique experience. A painting based on personal memories can be more literal, but the inspiration and meaning will not be obvious to the viewer.

Reisha Perlmutter, a contemporary artist living in New York, paints women swimming and submerged in translucent, blue water. She describes how her work is inspired by her childhood memories. Her paintings have an intimate feel as the viewer identifies with the sensation of water and light. You can view her artwork on her website, www.reishaperlmutter.com.

*Fresh Fallen Snow* by Stephanie Deshpande
24″ x 36″ – Oil on canvas

My painting Fresh Fallen Snow was based on recollections of my childhood being in my yard with friends on a snowy day. I remember lying in the cold snow with the icy scent of winter in the air as my friends ran off. In this painting, I recreated a memory using my daughter as the model. The painting originated from a personal experience, but now takes on a life of its own.

There are numerous ways to create a dynamic work of art, and each person will draw inspiration from various sources that reflect their unique view of the world. As an artist, it is essential to take time out of your busy schedule to listen to your thoughts and process emotions without distractions. By delving into yourself, you will imbue your art with a sense of meaning. I find that infusing metaphor, mystery, and memory into my paintings gives them more depth. What inspires your artwork?

A Realist’s Journey From Life to a Picture

Leah Lopez · May 10, 2021 · Leave a Comment

How to deal with digital reference material

*Into the Unknown* by Leah Lopez
40″ x 30″ – Oil on Dibond

In today’s Covid world, artists, like everyone else, have not been exempt from pandemic related problems. As a realist painter, I have always chosen to work from life, whether my subject is a figure, still life, or landscape. What I enjoy about working from life is that both eyes give me the depth perception that I would not get from a photo, not to mention all the subtleties of light, shadow, color, and edges. However, in this new world, even a classically trained artist like myself has had to transition to the digital age. Over the course of a year, I painted a body of work featuring myself as the model. Some of the pieces were painted from photos.

The first thing I discovered, as silly as it may seem, was the intense amount of eye strain I experienced. It was an adjustment I had to make, as I never had this problem when painting from life. I started using eyeglasses that really helped combat the problem and made the process easier for me. On the technical side, I quickly discovered that our eyes see things differently from a photo than from life. I had to fill in the blanks and create the many elements that I could not see in the photo. Another issue I quickly encountered was related to proportion size. I was accustomed to working life-size or sight-size, and found it challenging to make the proportional changes in my mind. To address this problem, I had to adjust my painting size to match the reference image.

Leah working on a commission, using a monitor the same size as the oil painting in progress

I found that using a grid was useful in keeping track of the proportional distortion. As you can see in the image below, I started with a grid to place the big shapes and complete the drawing. To see the painting and reference photo I used a mirror to make proportional comparisons. I also worked upside down and sideways for the same purpose. On a funny note, I found that closing one eye also helped correct the distortion that comes from using two eyes (lenses) to interpret an image captured by a single camera lens.

Lastly, and perhaps most importantly, a quality photo is of the utmost importance. Photos tend to distort things, especially when compressed. Without an exceptional photo, you miss the subtle nuances that typically only appear when working from life. To fill in some of the missing links, I would prepare four images: the original, a more contrasted version, a black and white, and a slightly desaturated version. This allowed me to switch between images and see some of the things that I would expect to see when working from life.

*Whispers of a New Day* by Leah Lopez
22″ x 17″ – Oil on Linen

Leah in her studio with several paintings in progress

Though I have always considered myself a classically trained realist, I must admit, I also enjoy painting from a photo. You do not have to work as quickly – you can take your time! And once I figured out solutions, I found it just as fulfilling as painting from life.

If you would like to see more photos of this body of work, titled “A Fool’s Journey” check out my website www.leahlopez.com. You’ll also find some free instructional videos there!

Be safe and happy painting!

Career Building Advice for Any Level

Lori Putnam · May 3, 2021 · 1 Comment

Did you know that OPA has been sharing artists’ blog posts for over ten years? We have an extensive collection available to the public on our website. This summer, OPA will be taking Deep Dives into our archives and sharing our favorite posts from years past. Please enjoy this first Deep Dive by Lori Putnam OPA.

I would like to start by making it very clear that there is absolutely nothing wrong with being an artist who chooses NOT to turn art into a “career.” It in no way makes that person less of an artist; it only means that he or she is not going to rely on creating art to earn a living. If you are one of those artists who makes art solely for the joy it brings, congratulations!

Beginning-Mid-Level Career Artists

Entering exhibitions and competitions:

*Headin’ Home* by Lori Putnam OPA
36″ x 48″ – Oil on linen

For the rest of us, building a career is, at the very least, time-consuming. It can also be super demanding and, at times, expensive. Someone told me once to expect a good resumé item to come in at no less than a grand. That was many years ago. I suspect by now, it costs much more. By this I mean the expenses incurred with membership fees, entry fees, crating fees, shipping fees, travel to the event (if you are fortunate enough to be able to attend), return shipping fees if the painting or paintings do not sell, etc. Costs can add up quickly. At this point, you are up to several thousand dollars, and this does not take into account the time, supplies, framing, and lest we forget, painting the award-winning painting!

Okay. So many of you already know this part. But for anyone just entering the world of competitions, it may be tough news. Yet, entering competitions is one way to begin to build a good resumé and career. Quite frankly, it is also one of the least expensive ways to start. [Note: yes, you will be rejected from time to time and want to give up. Do not. I say this with all honesty and humility. Pouting, making accusations, and posting your failure all over social media will get you nowhere. Try again. It is true that the very piece that did NOT get into one event, may win the top prize in another. You must learn to leave your ego out of this and continue to seek these opportunities.]

*Arizona Sun* by Lori Putnam OPA
14″ x 18″

Networking:

Another way to help your career is to attend conventions and events that are meaningful to you. For example, you have already taken the step to belong to OPA. If you can take one trip this year, why not try to go to the conference? I remember my first one. My $1200 painting was hanging next to David Leffel OPAM’s $100,000 masterpiece. I could have tucked my tail and retreated; instead I felt a sense of “WOW. Here I am! Next to these amazing painters!” Research conferences, conventions, and other networking opportunities and set a goal to make it happen.

Sometimes even more difficult than going to an event, is to leave your ego or shyness at home. As artists, many of us are introverts. I am no exception. This can manifest itself in one of two ways: arrogance or timidity. Fight both. A few public speaking, improv, or acting classes, professional coaching or counseling, followed by rehearsing and preparing what you might say, can get you through a lot. You will not die. You will make new connections and friends that will have an effect on your career for years to come. I met Quang Ho OPAM at my first OPA conference. He, in turn, has mentored me and become one of my dearest friends. We are now working together on projects. Whether you mean to or not, the people with whom you connect can help build your career. This is in no way using their goodness. It is just a product of it. Chances are you will help their careers as well.

Mid-Level-Upper-Level Career Artists

First of all, you should STILL be doing those things listed above. Now, you will add…

*Safe Harbor* by Lori Putnam OPA
30″ x 40″ – Private collection

Marketing and Advertising:

Go ahead and say it with me… marketing. See, it is not an ugly word. Some people cringe when they hear it, but the truth is that you produce a product. It is one that is near and dear to your soul, but it is still a product to the mere mortals (buyers) of the world, and it has to be marketed. No one is going to accidentally stumble onto your front porch looking for a great piece of art.

Marketing can mean a lot of things. For instance, if you are putting your work on Facebook, Twitter, Instagram, Pinterest, a blog, or any other social media, you are marketing. You are just choosing the free route which does not seem quite as icky somehow. The question is, are you making those efforts on a whim or do you have a plan? Research what works and what does not, which types of posts are getting the best response, and what subjects your followers most want to see. Follow the advice of experts to make “free” marketing work for you.

There will come a time, mid-level career, that you may find it a good idea to up your game with paid marketing. You need to know when you are ready for such a leap. One of the best ways to determine that is to answer these simple questions:

Do I paint regularly and produce a steady stream of work?
Is my work consistent in style? (You will keep growing, but your work should look like YOURS, not your instructor’s).
Can I commit to at least a year of paid advertising?

Paid advertising can be in the form of print ads or banner ads in publications, direct mail, or whatever. The hard truth is that it will cost money to do these things. This is money you don’t have, after all, because you are an artist building a career. But like a lot of things, if you advertise consistently, doing so will pay for itself over time.

When I began print advertising in a meaningful way (by that I mean not just once here or there to get editorial coverage), I was absolutely in no position financially to do it. You are thinking, “yeah, but you were not as broke as I am.” Yes, I was. The point is, I did it anyway and lived on faith and water for a very long time. Only you know your responsibilities and can make this decision. After about eight months of consistently advertising, I noticed things changing. Collectors, gallery owners, event organizers, and other artists do not always distinguish between paid ads and editorial content. This is great news! As your ads show up every month, the lines become more and more blurred. All people really remember, is that your name is in the magazines “all the time.” Name recognition builds clout. Clout builds careers.

You-Think-You’ve-Made-It Level Artists

*Above York House* by Lori Putnam OPA
18″ x 24″

All of the above and then some:

Sorry to tell you this, but the stakes are even higher for you now. There are still important exhibitions in which you will need to participate. They may be on the museum-level and/or high-end-private-collector-level. It is also a good idea to be a leader by continuing to exhibit as Masters of those core groups and organizations that helped “make” your career in the first place.

While the demands are greater on you now, so is your responsibility. Look to the artists who still do this. They are revered. The others who allowed ego to make decisions for them are getting lost in the pile. If you are at the top of the heap, congratulations. You are now one of the artists whose name may show up in the history books. For you, public appearances, lectures, community involvement, and mentoring will solidify this, and you may well be remembered for many generations to come. You will leave a legacy behind and your children and grandchildren will reap many benefits!

As for conventions, mailings, and advertising, you should still do those. (Remember, someone else is eager to take your place if you do not!) But your efforts are directed differently now. You are doing these things because it keeps your name fresh among the newer converts to this business. The museum directors, the top 1% of collectors who want to visit your private studio, and buy your books that are now worth several hundred dollars — they are watching. They get magazine subscriptions and they watch TedTalks and CBS Sunday Morning. Your name has to stay on the tip of their tongues. Now that you can offer only a few pieces on the market each year and have guaranteed collectors ready to buy, your calling is a higher one. Use it for good.

A Few Other Quick tips:

Snail mail – Send handwritten notes to would-be workshop attendees and art buyers. People love a personal touch.

*Breakfas*t by Lori Putnam OPA
30″ x 40″ – Private collection

Become an expert – on a topic you are passionate about. People will come to you for lectures and answers.

Get your art seen – If you are at “museum exhibition” level, great. If you are not, but you paint lovely dog portraits, ask your veterinarian if you can hang your work there. Put ego aside and just do it. It’s a start.

Start a blog (or wipe the dust off of that old one you started) – Don’t make it all about You, You, You. Be giving and share your information.

Support your friends – Going to art openings for your friends is a great way to learn how things work, meet others in the business, and maybe even find a great gallery. Just remember, it is THEIR night. Do not approach a gallery owner during someone else’s moment to shine.

Email – Begin an email campaign. Start your list of people with a few or hundreds, but start it. (By the way, NEVER add anyone to your list without permission.) Then, email people on the list in a very personable way. Sure, send them announcements about all of your great trips and accomplishments, but also send them stories and helpful tips and links (like one to that last blog post you finally got around to doing).

Social media – Free. Use it. Don’t abuse it. You do not want to shove your news down everyone’s throat, but remember that most things must be posted more than once, in different groups, and at different times of the day. If you feel you are already doing too much of this, enlist someone else to “brag” on your behalf and tag you.

Volunteer for an Organization – So much good can come from being part of an art organization. By default, your name is in front of people all of the time. There are many great artists in positions in organizations but there are also many who are, perhaps, not as great yet. If your name is in a publication as a leader in an organization, the assumption is that you are a professional, good at what you do, and everyone should know and respect you.

Set goals – and I should add, WRITE THEM DOWN. Goals keep you on track. These should certainly be artistic goals, but you should also write career goals. Make them just beyond what you think you can actually reach in a specific period of time. On April Fool’s Day in 2005, I became a full-time painter. I gave myself many goals. One of them was for where I wanted to be in 10 years. Happy anniversary to me! But I didn’t stop making goals all along the way. Things change; your goals change. Write them all down. Make them happen. If you don’t realize a goal in the specified time frame, reevaluate what you did or what you might have done differently or even if the goal was totally unattainable in the first place. Example: Paint en plein air on Mars. More realistic goal: Plein air paint a space station launch.

So what are you waiting for? No matter where you are in building your career, I have given you something to do. Go do it!