This is My Blog

This is MY blog.

I can share whatever I want to. I can say whatever I want. I can withhold any information I want to. I can post whatever, and take down whatever, on a whim, or whatever. I am the master of my own universe.

Anyone can read my blog. They can skim it. They can subscribe, unsubscribe, or sit there with their browser window open to it at all times and wait there until I post something new – as if I actually have something interesting to say.

People can tell me to my face that they read this thing. They have the right to not mention it too, or even lie, or not even know it exists.

They can read it and thoroughly dislike me, the way I write, my sense of humor, and think whatever they want about me. It’s totally their prerogative to judge me however they please. It’s my right to prefer they didn’t. I am not one of these people that say I don’t care what people think of me. I’m either not old enough to feel that way yet, or just too neurotic and self-centered to ever feel that way. I’m not sure which.

I was realizing today that the more you put yourself out there, the more you run the risk of being hated.

There was a discussion among artists about who the biggest artist celebrity was. Was it Warhol? Picasso? DaVinci, Dali, Michelangelo…? It’s so amazing to me how hated Picasso and Warhol are, which tells me that they are probably the front runners. And I guess this happens with actors too. The more people that know you, the more likely you’re going to get haters along with your fans. I know I’m not a fan of any actors. Not many anyway. Not that I’m a hater. But this is the risk you run putting yourself out there.

I’m a hater of celebrity though. I suppose that’s more about media. How is Britney Spears coming out of a Starbucks with 10 extra pounds on her NEWS?

Yet, I seek out media for myself. I wouldn’t care if it was good or bad. Sure, I prefer it to be good, but you know what they say…

Why do I want this? Well, I want to promote my art, dummy. Why else? Okay, but who is the dummy, dummy?

For years – and I mean many of them, I use to think promo out = income in. Quantity equals quality, so to speak. It took me so long to learn how wrong I was and how it was the other way around.

It doesn’t matter how many eyes see your work, or how many names you have on your mailing list. That doesn’t mean jack shit if all those people are not the right people, and by the right people, I mean collectors, curators, and people that are genuinely interested in your work one way or another. Even if your list is composed of rich celebrities. So what?  What good does that do you if they aren’t into YOUR art or what you’re up to?

Your people do not have to be “buyers.” They need to be supporters. A supporter can come in any fashion. Money is not all there is because moral support is actually more valuable  than a sale. A sale only lasts as long as you have the money in your bank account. Remember that. Your painting is also gone. So maybe it’s one less piece to store, but you can’t sell it again. (You still own the copyright however – and that’s something.) My point being, the life of a sale is finite – very much so. A real supporter means more and grows with you while you grow.

Not only that, YOU grow while THEY grow too. They will promote you to their people. Your true supporters grow tentacles like sea anemones as they go through life. You never know what people they meet and what jobs they will swing in and out of over a decade. Trust me, I once had a guy that could hardly pay me for a $100 watercolor and two years later he got a job at a big internet company and ordered 10 large paintings for their offices, plus a personal commission.

Never count anyone out.

In another case(s), I have giant bouts of depression and often think I am just spinning my wheels for no reason – not that I can do anything else. Art is it. But I will tell you. If I didn’t have some of the key supporters that I have had, especially the ones that have been with me since the very beginning – who have never purchased a thing mind you – I would never have kept going on believing in myself.

Sometimes when other people believe in you when you don’t, you think, why? What does that other person see? I mean, you can’t really believe it, but you respect that person and think, they must see something,  and that floats you through those times. It’s kind of like team work. You believe in you when no one will, then they will – back and forth – like both of you keeping a balloon from touching the floor.

So, stop counting your pieces of mail, or your haters, or how many people passed by your last painting. and don’t discount your mom. You never know what she’ll cook up for you. I didn’t have a mom like that, but my supporters sure made up for her. And I bet you have a support system either within your friends or family, or both, and they count.

Don’t get discouraged any time someone unsubscribes from your mailing list. That’s one less person that isn’t interested. Your list has been streamlined! Now you can target your promotions better. That’s the way to look at it.

Now, how did I get here from how I started this entry? I have no idea.

All I know is that I eventually wanted to get to the part where I was going to show you my inspiration wall in my office.

inspiration

There’s too much to go over each thing with you, but up top is my favorite photograph of John, Yoko and Sean in a rowboat. It’s an original photograph!

I’m working in here today because I set up my “watercolor station” to work on the Special 16 Dans prints. I just got them in the mail and I didn’t want to waste any time painting them, since 12 of them are slated as Kickstarter rewards. That leaves only four left that I can sell, but I have no idea for how much. Maybe $60 a piece? Still not sure.

Here is basically what they are going to look like (this is a Photoshop mock-up):

16dansnewtest

They are 8 x 8 inches on #140 watercolor paper.

Okay, gotta go. Meg Madison is also coming to visit today, so see you on the flip-flop!

 

Studio Babble

Just been working in the studio on and off. Thought I’d say hello to my blog.

Hello.

It took me some time to make the five journal sketches for the aleph painting. Seems pretty silly to spend the time when I’m going to be covering them up with paint! But I’ll admit, I did sorta keep that in mind while I was doing them. It was in the back of my head anyway.

alephlayout

 

I think they still turned out looking the same as always, but at first it was a little bit hard to get back into the swing of things. They always say…or someone said, inspiration will come to you, but it has to find you working. Or something like that. And so it did. After the second or third piece, it was like I was doing journal drawings everyday again, and it made me want to start that practice up again too.

A couple of the drawings have to do with the project and a few of them don’t. One of them is about snakes and Sleestacks for some reason. Don’t ask. I have no idea where this stuff comes from, but I’d like to do more, more, more.

Oh, if only more time existed on the Earth.

So, I stuck those drawings onto my canvas. This is a 34 x 34 inch canvas and I used a clear, matte acrylic polymer made by Nova Color when sticking these things on – I use it when sticking anything on to my canvases. It’s pretty thick and pasty stuff, sorta like cake frosting. It goes on white and dries clear, as you can see. That manila paper I’m using is #125, so I do need strong stuff that’s going to brush on evenly to prevent air bubbles and such. This polymer stuff is great for collage.  You should look into it if you do collage.

alef1

I have to say, when I shot this picture wider, all it did was distract me. I mean, once I downloaded it into Photoshop. All the little things in the background started to freak me out – the little things that needed to be done. I started to obsess on them.

studioproblems

A. Like this box of photos. They don’t belong in the studio. They are supposed to be put into albums. I meant to do that in memory of my aunt, but I just don’t have the time for “extra curricular” activities these days.

B. That’s a box filled with Ethereal Research Laboratories Etherecals, Bacterribles, and Imaginodds that still need to be shoved into Erlenmeyer flasks.

C. A Blick return I need to pack up and bring to UPS.

D. An older work that needs special packing because of the pins sticking out of it. It needs to be packed up and put away before it starts to get dusty.

E. Those are two small white panels I’m supposed to do pin drawings on. They are pending commissions!

F. I need the top to that. I just need to fish it out and stick it back on there. I’m pretty sure I know where it is.

G. OMG! How long has THIS been like this?! This painting has the weight of a few of the same size paintings leaning up against it. Did I explain that correctly? It is facing the wrong way. The canvas side should be facing away from the table so that the weight distributes evenly. Now I have to move it all and it’s a bigger pain than it might seem.

Here’s the thing with this space. Pretty much everything needs to be put away in its place in order for me to have the space to work. I’ve found that I can’t really work on more than one painting at a time unless I want to be up to my knees in clutter – which I’ve done before when I’m really into things. I suppose I can let it ride. But I like to start with a clean slate.

H . That painting is white (obviously), and needs to be wrapped up and put away. (I had it out for a studio visit.)

Well, that’s what happened when I downloaded this picture from my camera. It sucks to be me.

Anyway, I put the first very light layer of white over the drawings, but you can hardly tell.

alef2

Later today I’ll probably do a really light beige in some areas and see what happens there.

I should do it before the day ends because tomorrow I’ll be receiving the Dan prints and will most likely be working on painting those new À la Dan Kabbalah and Special 16 Dans.

 

Jealous of You

Do I get jealous of you? Isn’t jealousy a natural feeling? Animals get jealous. I see my dog get that way all the time.

I don’t think there is anything wrong with jealousy. I think it’s a good thing.

I’m talking about as an artist.

As a drummer, this feeling inspired me. I loved it when someone was better than me. I really did. It made me happy. Few things make me happy.

But there’s a big difference between envy and schadenfreude, or hating  someone for their successes. I guess it’s all how you channel it.

In music it was a lot easier. It inspired me when someone was a better drummer. Maybe it was a little harder when it was a closer competition though, I will admit that. Like if another drummer was auditioning for the same gig – of course I didn’t want him to get it over me. I suppose I hoping for some misfortune to rain down upon him. Ha! (Nothing too serious, of course.)

Okay, I’m guilty.

I guess what got me thinking about this is because I normally don’t mind the fact that I generally like other people’s art more than my own. I mean, I do. If I didn’t, I’d hang my own art all over my house. I like my own art, don’t get me wrong, but I’m too fickle about it. There are days I really hate it with a passion.

I don’t get that way with other people’s work. If I love it, I usually keep loving it more with time.

What am I getting at exactly?

Well, my friend, Brian Novatny, is having his first solo show in many years. He is showing all new paintings and drawings and his style has evolved drastically over all this time, and now, I am absolutely in love with the work I have seen of his so far, especially this painting:

BRIAN NOVATNY, SAILOR'S DIARY
BRIAN NOVATNY, SAILOR’S DIARY

He sent it to me in the invite for his upcoming show, which opens next Thursday at 6:PM at Mulherin + Pollard in NYC.

I used to show with Brian at George Billis Gallery. In fact, we were supposed to have a 2-person show in 2010, but some stuff happened that I can’t talk about. The “stuff” made us both mad and that made us bond over some drinks in Chelsea, then again the next night on the Lower East Side, then again the next night somewhere else, I’m not sure. It got to be a blur after that, but we’re buddies now.

Anyway, I either want this painting, wish I had painted this painting myself, or just feel like shit about myself today. Maybe that’s all that jealousy is really. Feeling like shit about yourself that day. It has to be.

But I’m not sure.

Does my dog feel like shit about herself?

Making Space — The Impossible Task!

I don’t know how much different this blog post is about to be from the post I just made on my Exodus Project Blog, but here goes.

I just finished cleaning and straightening up my studio, Rubber Soul. I have a studio visit tomorrow with a curator, plus it had been an utter mess for months.

rs2

I was even able to clean out my flat files and organize them. I can’t believe I got to those! People think I’m so organized already. Now I am! I’m pretty proud of myself, I must say. I was just throwing stuff in there willy-nilly, and thought I had a “system,” but it wasn’t quite working out. I think I needed to have an inoperative system for about six years before I knew how  to make an operative one, if that makes sense. Ha ha ha!

51222-2606-3ww-l

Now it’s so fucking clean and organized and exactly right this time, I want to shout it to the heavens! (I get to excited about this stuff!) And hey, maybe this will work for other artists for all I know. Once I split things up this way, I was like, oh yeah, duh!  So here are my drawers from top to bottom, and of course, many only pertain to me, specifically:

Surfaces – All the nice, clean paper I have yet to make art on. I even divided those up into big flat bags and marked them (#300 cold press Fabriano, etc.).
Wraps – Anything that will wrap a single sheet of paper/print for a buyer or to ship. Paper or clear envelopes, “stiffiners,” large envelopes, acid-free paper wrap, cardboard, etc.
Originals – Large original work on paper that’s too large to fit in any of my portfolio books.
Journal Project – All the original drawings from my Journal Project.
Cut Patterns – A bunch of patterns that I’ve already cut, plus all of the master patterns for future cuts. These are for both paintings, and the Journal Project.

Large Prints – Prints over 20 inches in either direction.
Artists’ Books – These are mostly the ones I pull out for display. I keep the “fresh” ones in boxes somewhere else.
Small Prints – I have a lot of these.
Portfolios – I keep all my portfolio books of works on paper in here, large and small.
OPP – Other people’s works on paper: originals, prints, and photographs.

Yeah, I love to organize. Can’t cha tell? If you can’t tell from the above, those are two different cabinets. I have a really big one, which is the top one, and a medium one, which is the bottom one. Come to think about it, I often wonder if my 2nd one is the smallest version of those Maylines. Not that it’s a Mayline, it’s some other brand. I’ll have to measure it sometime and figure it out.

But it doesn’t even flippin matter since it works for me. They both work for me and I really don’t know what I’d do without them. However, I don’t think I could ever afford – and I’m not even talking money – another one. I don’t have the real estate. I don’t even have the real estate for everything I have now!

new2

drums1

I lose sleep at night thinking about how much art shit I have! How much art furniture and painting storage I have. It makes me nuts!!! It really does. If I ever had to move and I couldn’t have a two car garage with a little back extension (yeah – like where am I going to find that???), then I don’t know what I would do!

Then again, I can also consider it this way: Some artists need a studio space, and a 500 square foot studio is not very big at all. I would just have to figure out how to pay for it …again!

full

Advice & Secrets: Shipping Your Art

I am starting a new category on my blog now called, Advice & Secrets,  which will be like little tips and tricks of mine passed along to you. You can take them or leave them, but if they happen to work for you, GREAT! <— That’s what I’m hoping for!

Why am I saving you all the research and homework that I have done over years and years of trial and error, grief and bumbling? Because I’m nice. Is that so hard to believe? Of course it isn’t! I must have some kind of ulterior motive.

Well, I do. But it’s a little one.

First of all, I want you to trust me. Feeding you this information might show you that I know some things. It might make you see that I have experience, and that I am worthy.

Now why would I want that?

Well, because I would like to teach privately. Maybe I haven’t announced that before, so that’s why no one knows that about me, but I would like to take in a couple, or a few students that are interested in the kind of things I have to offer. (So if that pertains to you, contact me.)

Anyway, back to what I was going on about.

I figured I’d start us out with the most boring subject of all! Shipping Your Art,  only because I have been asked about it a LOT. You should probably ask a few artists what they do because the more info and consensus you get, the better. Some people swear by their shippers, their cardboard or box source, and I’m not here to tell you that those sources suck. I’m here to tell you about my  happiness. So there is my disclaimer.

Okay, for the most part, I ship domestic, because when shipping internationally, I become highly dysfunctional. I’m serious. I become overwhelmed with the custom rules and knowing the difference between the “insurance” value, and the “sales” value (because, of course, the person on the receiving end would prefer you to lie to escape having to pay all the extra fees at Customs). So I choke. I prefer to avoid it, honestly. I prefer it to be handled correctly when possible.

I use UPS. Now, a lot of people are afraid of UPS. I don’t know why. I’ve just heard of some people being scared, either because they have had their own nightmare experience, or they have heard of someone’s brother’s mother’s cousin’s nightmare experience. Yes, every shipping company might lose you stuff, might break your stuff, might damage it, and might damage it until it is unrecognizable or until it disintegrates into itty bity microplasma. It has been know to happen! Even by the trusted, governmental USPS. This is why you must always insure it. And, you want to insure it with the place that is easiest to file a claim with, and that’s UPS.

A lot of people swear by FedEx, but last I checked, FedEx won’t allow you to insure art over some certain amount, and I think that amount was really low, like $500, where UPS will allow up to $50K (Domestic) and $5000 (Internationally), otherwise, you have to get a third party to insure it for more, in which case you will need a third party insurance carrier. UPS uses UPS Capital for that thar, but I have never had the need, so I don’t know what that whole rigamaroll is like…

Obviously, I have not yet shipped artwork (internationally) that I had to insure over $5000. That doesn’t mean I haven’t shipped $20,000+ worth of art before. I just haven’t shipped ONE piece of art that retailed  for more  than $10k. You can ship in a few different boxes to avoid insurance discrepancies. Not that you couldn’t think that up on your own.

The worst and hardest to file a claim with is the United States Postal Service, and then, next in line I think it’s FedEx. I’ve heard they can take up to 90 days before they will pay you on the claim. Personally, I have been using UPS for 20+ years (and I ship a LOT) and I have had only one damaged item, which had a glass frame (and now I only use plexi). The breakage completely destroyed that very, very, very cool and desirable piece of art forever! They paid on the claim within three weeks in full.

snyderoneuslepidoptera

As for boxes and supplies, I make my own boxes. It’s the cheapest possible way to go. I’ve been doing it so long, it’s not as big of a pain in the ass as it sounds, but it is  kinda a pain in the ass. Sometimes I get lazy and buy the Mirror Packs from Box Bros. or Box City in Pasadena (when I’m in a rush or lazy), otherwise, I get everything  I need from Paper Mart, who deliver the NEXT DAY! If you buy from there in larger quantity, you will save more than half than if you bought your stuff from a Box Bros., or a place like that.

I buy their large cardboard sheets at 36 x 72 and make custom, double boxes. I realize this is not for everyone. It is very time consuming and sweat inducing. Lotta bending, even if you have a great, big cutting table like I do! Why I wind up on the floor a lot, I do not know!

I also use plastic wrap, then  foam wrap, THEN  bubble wrap. I’m pretty thorough like that. If you wrap your paintings directly in bubble wrap – like the small bubbles – it might leave little bubble marks on your painting – just sayin’.

So that’s the cheap way to go.

If I don’t want to do any of this, and I have a bit more money to spare, and a lot LESS time to deal with, say an exhibit I need to ship out of state (a solo show or a group show), I will use my good friends at Craters & Freighters. They will come to your house and take the work, package it and ship it for you. You don’t even need to wrap it! They specialize in art and they are affordable (compared to other art shippers, that is – like LA Packing, which many artists swear by). LA Packing is highly reputable. It is certainly the “go-to” company for all fine art handling of any sort. I will tell you that, and I will tell you that they are definitely trustworthy. If I had the extra money, I would use them myself, but they are expensive and you are paying for their longtime, highfalutin reputation (albeit well-earned). <–More disclaimer.

I have never had any problems with Craters & Freighters. I have kept their crates and reused them. They are made well. They also use UPS. I don’t know who LA Packing uses. You might want to check their website.

Another option, but this is only if you’re shipping times are very flexible…

There is a guy that does delivery back and forth from the east and west coasts, and it would be especially easy if you live in or around Southern and/or Northern California – and especially easy if your delivery goes to NY or vise versa.

His name is Shlomo and he is the nicest guy you’ll ever deal with. His company is Artisan Shipping, and it is the absolute, most economical way to do any sort of shipping. It’s one of my very valuable, and secret resources that I am passing on.  (Note 3/7: His site might be down. I suggest calling him.)

I have used him/his services a few times and it has worked for me and my pocketbook, specifically working for me once because one of my shows that was in NYC was scheduled with plenty  of notice so I could schedule Shlomo’s pick up from my studio since he does the route only once a month – to the west and back  to the east. He does this every month, except for one (or two?) out of the year and I forgot which month that was, so you’d have to check. Call him and find out: 917-613-0338.

So that’s it. That’s all I know on this subject, so if you happen to ask me about shipping, or boxes, or bubble wrap… of, I get the LARGE bubble bubble wrap btw, now I can refer you to this page and I will actually save time… maybe.

Okay, remember that I love you!