What's Up With All The Bitch-Biting?

     I’m going to make a statement that you might find surprising, and here it is:  

As a group, artists can be amazing.  People will stand for hours watching us do painting magic.  On the opposite hand, as a group, artists can be among the nastiest, intolerant, opinionated bunch of whiners you’ve ever seen.

     I’ve been to several shows this year where the congregation of art minds was truly inspiring and uplifting.  The Coors Show in Denver this last January is a good case in point.  Fellow artists Gil Dellinger, G. Russell Case, Joel Ostlind and David Griffin are the epitome of class and positive input.  These artists help each problem-solve, and stand as examples of artists I choose to surround myself with.

     However, other negative opinions can rule the day.  Here are a few of the criticisms I often hear about my work and that drive me crazy:

1.    Paints too loose or paints too tight

2.    Paints too realistic or too impressionistic

3.    Watercolor has less value

4.    Works of art on paper or behind glass are less desirable

5.    This work of art is too western or too contemporary

6.    These paintings don’t say anything

7.    This work is too “Wyeth” or too (insert any Master painter)

8.    He has a limited subject --- all he paints is cowboys

9.    He paints too thin ..... he paints too thick

10.  He glazes everything or it's too palette-knife impasto

     I could do two more pages of art gripes that you can hear at any given minute at any given art show.  Don’t get caught in this negative wave of opinion.  Politely move on, and find safety among other artists of like mind.

     You won’t find this spiteful commentary among collectors.  They are more succinct.  They either like it or don’t, based on subject and quality.  Only artists get specific and nasty. 

     It is time we stop all this “throwing of hate darts” and start working to help and support each other’s efforts.  I know our past indicates this won’t be the case.  I don’t know if our fragile egos are the root of this problem or if it’s just that we’ve invested so much of ourselves in our work and process that we must skewer all other attempts at paint on canvas. 

     I just plan to paint what I enjoy----paint it at the highest quality I can and speak as positive as I can about my fellow artists and acquaintances.  Sometimes part of being a professional is keeping your mouth shut and opinion to yourself.

     I won’t be steam-rolled by anyone, and make no mistake…..I will stand up for myself.  But we can keep it professional, even if we disagree.  I enjoy throwing artistic curveballs as much as the next artist/guy, and I refused to be boxed in artistically.  So for those critics who say “all he paints is western art or cowboys”, check out my painting foray from yesterday.

The Fallen

     I can hear it now…..”I can’t believe he painted a dead bird” ….. “It’s too much like Chardin” ….. “That teacup is so feminine”……

An Artful Conversation

     I spent last Saturday hunting quail at the King Ranch with my friend, painter Mikel Donahue.  Mikel has been on a roll, and his artistic hot streak seems to be only picking up more steam. 

Fellow artist George Northup on the hunt.

     Our conversation started with what art shows we were doing, which seems to be a hot topic when artists get together.  However, we moved to the real meat of the conversation and started a great discussion on self-marketing. 

     It’s nice to have common ground with a peer.  Mike is a fantastic artist and we share a similar background, having come to Fine Art after years of being thrashed in the stocks of Illustration.  The drawing part isn’t so bad.  It’s the dealing with clients, deadlines and trying to get paid, that makes being a hired pencil so bad.  Thirty—Sixty---Ninety days and I still can’t get paid!

Mikel and George sit atop our hunting rig.

     We traded war stories and came to a joint and unanimous decision.  Illustration was a great foundation, but its heyday is over and we have moved on, both now deeply ensconced in Fine Art.

     Mikel’s success has been rapid and significant.  Most would be jealous of his short track record and list of accomplishments.  But these achievements are built on impeccable technique and years of toiling at his craft.  He’s paid his dues, even though his Fine Art career is just beginning.

     We both recognize that we are in the midst of a major paradigm shift in the art market.  The galleries of Santa Fe and Scottsdale are, by the measure of most artists, in serious decline.  It’s hard to get a real pulse of what’s actually going on.  Artists say one thing, gallery owners something different.  Everyone has their own spin.  Much of selling your art is projecting a professional image and no doubt it is important, but it would be nice to encapsulate how the economy is affecting the art world, and know how to play it.

Libation Station

     Mikel makes a good point about quality, his point being that good art, at a good price, will attract a buyer.  I agree wholeheartedly.

     Another major point we covered was how most successful artists have a supportive spouse.  I’m not talking about the high five and “have a good show” type of support.  I’m speaking of someone who is on the rope, helping pull this art train further down the track. 

     Sometimes it’s not feasible, but all things being equal, an artist with a spouse in the game, has a better chance at making the climb.  Mikel and I are lucky in this regard.  Pam and Kristi have skin in this game and we both acknowledge we’re better off for it.

     My last point may be redundant, but the time is coming when being a full-time artist means you are in charge of your own marketing.  I know many artists start to turn pale and zone out when selling their own work is mentioned.  But if you’re not going to make your own sales, who is?  Mikel and I discussed this at length and have only our experience to draw from, but the Internet, Facebook, and New Media are the future. 

Good art friends Mikel (left) and George (right).
Both class acts!

     I heard Tony Robbins marketing a new sales gig on the radio and he flatly states that not embracing the web properly, will put you out of business.  Again, I wholeheartedly agree.  It’s a brave new art world out there, and the artist must actively seek a market for his work. 

     I want to close by saying that time spent with other artists is a favorite pastime of mine.  I always learn something I’m not doing, or something I can do better.  Mikel, thanks for a memorable hunt.  Thanks for pursuing quality, and thanks for hogging the top of the hunting rig.  Paybacks are a bitch!

    

The New Media, Part Two: Branding Yourself

     What does it mean to brand yourself as an artist?  Most artists run, screaming like their hair is on fire, from marketing terms such as this and “the corporate speak”.   But let’s deal in reality for a moment.  You produce a product to sell (or hope to someday), right?  If you’re not actively marketing your wares then you aren’t really in the game, or as we say here in Texas, “you don’t have a dog in the hunt”.  So, it’s my opinion that if you want to sell artwork, then you best climb your butt on the marketing wagon.

     The stigma of “selling out” touches artists like no other profession.  But Facebook allows you to market, without the perception that you’re marketing.  See if this makes sense:  the “branding” of you, the artist, isn’t the same as “branding” Coca Cola, the product.  “Branding” to me, means creating a microcosm of who you really are to your customer, i.e., the “real” you.

     One thing I’ve learned after all these years is that the customer wants to connect with you, the artist.  Customers like knowing the artist personally and it’s conducive to making the sale.  So here’s my advice in a nutshell:  Socialize with your Facebook crowd.  Talk to them, talk about your real life.  Be a normal, yet interesting person, and try to connect with people who find your way of life interesting.  The leap to seeing your artwork isn’t too far from there.

     What do I do personally to “brand” myself?  I tell people what I’m thinking, what my concerns are, and I give some humorous insight into my real life.  The most popular posting I’ve ever made received an uproarious response.  I related an episode here at my studio involving a very large snake, flip-flops, and a severely damaged little toe.  Did I mention I was armed?  It was Keystone Cops gone awry!

     So what’s the next step?  What happens after you connect with people who find you interesting?  You establish real friendships, go to dinner, and do what real friends do. 

     If all this sounds too difficult, you can remain faceless and nameless and stick with a paradigm that I believe is slowly waning:  gallery representation.  The world of marketing is being rocked by the methods that are the “new media”.  YouTube, Facebook, Blogs, and Twitter are the beginnings of a brave new world.  Stick your toe in, the water is fine!

   

Change Your Thinking On Facebook, Part 1

    

 I’m going to go out on a limb, here, and say that except for your website, Facebook is the most powerful marketing tool available to those artists who choose to promote their own work.  In many regards, I think Facebook is stronger in some applications than a traditional website.  

     But a high quality website will always be the final destination for people considering your work, and it must perform it’s task.  Understanding Facebook, as it pertains to marketing, is the real key.  If you figure out how to use Facebook for its intended purpose, it will help drive people to your website.  The two tools should have a symbiotic relationship..... like the Crocodile and the Oxpecker (Check it out!)  

     Many people use Facebook for nothing more than staying connected with friends and family-----fine, if that’s your goal.  But for the artist who chooses to market on Facebook, a shift in thinking must occur. 

     Many artists think posting their latest painting for review is the most appropriate way to market in this venue.  In my opinion, this is minimally effective at best.  These artists miss the inherent strength of Facebook.  They also risk removal from the Facebook format by breaking their #1 Rule:  no self-promoting businesses.  Facebook is a social networking destination.  I say use it for its intended purpose….networking and socializing.

     Look….if you attend a social gathering or party where many of your collector base is present, you wouldn’t stroll through the crowd with a Cosmo and your latest painting in your hand.  Many collectors would find it offensive to talk with you while you constantly flash your newest 22 x 30 painting. 

     To put it simply, I think you missed your window.  Social gatherings are for socializing.  This is a powerful way for you, the artist, to become REAL to your collector.  The painting, at this point, is a distraction and interference.  Let them get to know you!

     That being said, there is an appropriate time to introduce a new project, a new show, or a new accolade.  When you’ve established a relationship with your audience, they will want to see what you’ve been working on and your latest image.  Just don’t let that be your only conversation on Facebook.

     If you are unable to interact with your collector base without the crutch of your painting, you are at a severe disadvantage among the artists who understand this distinction. 

     I think 90% (or more) of artists fail to make this connection.  My next post will show you the key to making this all-important connection with your base.  Stuff for heavy mediation, huh?       

Collaborate!

         I try not to fence myself in when it comes to art and marketing.  In talking with other artists, it’s apparent that this economic decline is taking a large toll on the galleries.  Marketing artwork is difficult, and artists, by the very nature of their craft, would rather paint than market.

     One tool I’ve found that can be a great asset for artists is collaboration.  Collaboration is defined as:  the action of working with someone to produce or create something.

     I like to collaborate with a partner who brings as much or more to the table as I do.  By combining the talents and resources of two, we double the chances for success.

     I’ve become adept at looking for just the right situation where collaboration will achieve my goals.   My last collaboration was with my friend Kathy McCraine.  It was born during a short drive to the O RO ranch in Arizona.  Our casual talk lead from one step to another.  In the span of an 80-mile drive, we hatched the idea of a cookbook, developed a passable marketing plan, and set a schedule to meet a Christmas deadline.  That short drive was the impetus to create Cow Country Cooking.

     Was the collaboration a success?  We paid the printing bill in just over a week, and in just two months we have sold well over half the edition.  So why was this collaboration a success?  Several reasons come to mind:  1).   Kathy and I both know our subjects.  We had emotional connections to cowboys and Northern Arizona, as well as the O RO ranch.    2)   We combined our talents into one concerted effort.  With Kathy’s writing and photography skills, and my paintings and storytelling, the bases were all covered.    3)  We both had mailing lists and contacts.  We doubled our outreach just by collaborating.

     One word of caution:  I think we must be careful as artists what we put our name on, always keeping in mind our collector base and their expectations.  But collaborating on the right product or project can be a huge success.  Keep your eyes open for opportunities and good luck!

    

Stepping Stones and Holes

     Continuing from yesterday’s post….. When I started down this path, I was highly motivated.  I was burned out on free-lance Illustration and design work.  I refused to swim with the backstabbing sharks that infest Ad agencies and Design firms.

     And my 5-year stint as a Liability Adjuster for Farmer’s Insurance was about as stimulating and challenging as government work.  (Episodes of The Office are perfect mirrors of that job).  I had “The House” in upper-middle-class suburbia, the company car, and the profit sharing.  But needless to say, I was in a hole mentally.

     One day after returning from a claim, I stopped at a Barnes & Noble in Sugar Land, Texas with the intention of purchasing some Western Art magazines and seeing what might be possible.  After a very short time period to weigh the decision, I told Pam I wanted to take the art road.  She was cautious, but supportive, and I started my journey.

     I distinctly remember writing down a plan to “attack and succeed”, but only God knows where that long-ago plan is today.  I’ve done my best to recreate what I feel was my step-by-step progression:

     #1.  I gave myself one year to continue at Farmer’s while I compressed learning to paint in watercolor at a high enough level to sell.  I felt that with my drawing skills and my illustration background, this was a reasonable time frame.

     #2.  I needed an art show event to launch my career.  I applied to the National Finals Rodeo to exhibit and was accepted.  I figured Vegas was a big enough venue to be seen, right?  Having been accepted, it was time to get to work, and I had a strong motive to produce quality paintings.

     #3.  I realized that I would need a booth and a trailer to carry the art and “stuff” necessary to do a show.  I bought a used U-Haul for $1500 and had a friend manufacture a booth from cattle panels and square tubing.  Spray-painted black, I thought it looked quite professional.  In retrospect, I should have done a better job of research on the booth and bought Pro Panels from MD Enterprises.  This decision cost me in wasted effort and a “less professional” appearance --- but I had nevertheless started.

     #4.  I needed some sales under my belt to generate working capital and build my confidence.  When your work reaches a satisfactory level, friends and family will generally start to buy.  Work from there.  Look for buyers.  I was selling work to people at Farmer’s before I left.  They knew I was a short-timer, if nothing else, by the quality of work I was starting to produce.

     #5.  Make a list of goals.  I can’t stress this enough.  These can be short term, one-year, 5-year and beyond.  I am a big believer in setting goals.  When you set and write a goal, your body and your mind instantly start to problem solve and push you toward your goal.  Do it! 

      #6.  Start working slowly to build up your profession.  For me, this meant picking away at frame shop equipment, computers, drawing tables, and all the things you need in an operational studio.  This will be a real business --- treat it like one!

     #7.  Number 7 is the final and most important goal.  Never rest on your laurels!  From here on, you must work everyday to get better.  Study your craft.  Study technique, take a workshop.  Find everyone who is better than you and study what they do.  I have too many artist friends who are one-trick ponies.  They stopped learning and pushing years ago.  They make good livings, but they are creatively dead and in the hole.  I figure they should go back to the insurance company, and at least get the profit sharing.  Don’t stop learning!

All content © Mark Kohler Studio.

  

Stumbling Into Success

     I thought I would continue the discussion we started yesterday, by showing a couple of prints that turned out to be home runs for me.  I decided early in my career, that Limited Edition prints were an option for me.  They are what are referred to as gicleés (archivally sound prints – I print mine on Velvet Fine Art Paper, which resembles watercolor paper).  I print them in editions of 25, and each is signed and numbered.  The Limited Edition prints appeal to art lovers who can’t afford my originals, and are often a first step before buying a small original.

      What would be helpful, for the sake of this discussion, would be if I could explain to you why they struck a chord, but to tell you the truth, I would be on thin ice with nothing more than a W.A.G.  (wild-ass guess).

Coyote Dun

     The first print to be a winner was The Coyote Dun.  I think the emotion and posture of this image are what people respond to.  I think I mentioned this image in a previous post, but it has been an unusually popular print, especially with the ranching and cowboy crowd.  Believe me, they don’t toss their money around unless it’s authentic, so in that regard, I was pleased.  Incidentally, I have three left in the edition.

     My next big seller was a print, called Big Air.

Big Air

 This was the first bucking horse painting that I completed. My cowboy friend, Jim Spivey, rode this sorrel mare all over the horse trap at the Wagon Wheel Ranch.  I’m not really sure if the painting sold itself, or if my excitement about having captured the image and working through the painting was infectious.  Chicken or the egg?  Who knows?  But in the end, Big Air turned out to be a winner.  (Two left in the edition).

     My final artistic coup is a toss up between two prints:  a longhorn print called Coastal Cruiser and a cowboy painting called Won’t Suffer Fools.  I think Coastal Cruiser can hang part of its success to living near the University of Texas.  If you can’t sell longhorns to Texans, it’s probably time to start looking for a new exit to take. 

Coastal Cruiser

     I believe Won’t Suffer Fools owes its success to an iconic cowboy image and a good story.  International Artist magazine liked the image enough to publish it in their Painting People and Figures book. (Every little bit helps).  Both prints have less than 5 available in their editions.

Won't Suffer Fools

     So there you have it.  I can’t pick a winner any better than you.  How do I decide which paintings to make prints of?  Well, I don’t make many prints….less and less over time….so it has to be a special painting that warrants it.  And when you think you know the whimsy of the art market, get ready, because you’re about to get your proverbial ass handed to you.  So much of art marketing is taking an image and stepping out on the limb, or the cliff, or over the yellow line, and trying to make it work.  It may fly---or you may get smashed.  But you’ll know more than you did and you might just hit a home run.  The real trick here is persistence. 

How Do I Price My Work?

     Now this is a tricky question in today’s economy!  It seems everyone has an opinion about how you should price your work.   Galleries want a square inch price, and damn your time.   Some customers think your price less 20%, sounds close to their liking.

     For me, this has always been a hit or miss affair.  However, we have to start somewhere.  Let’s assume you’re new to the art game.  Start at a reasonable price, based on your time invested.  You will have to determine what this figure is for you, but set the price, then see what transpires.

Among The Workers
by Mark Kohler

     I have always tried to price myself into the market.  I observe other artists, who have priced their work out of the market, and I find a comfortable price range where I feel my work will move. 

     How do I know when I need to raise my price?  When I’m in great demand and I can’t keep up.  That’s the simple answer for all of us.  But if you’ve got an inventory of forty paintings and the phone isn’t ringing, you may want to take a hard look at your pricing.

     My friend Carrie Ballantyne recently had 6 conte drawings at a gallery in Cody, Wyoming.  They all averaged between $6500 and $6900.  At first consideration, you may think this is a lot for a drawing.  But let’s break it down.

     Carrie’s work requires many hours of tedious, detailed drawing.  Her style is photo realistic and there is no shortcutting here.  Additionally, her work is sold in advance, and I dare say, with a waiting list of collectors seeking to add her work to their collection.

Harold Holden
by Carrie Ballantyne

     These two factors alone, combined with top-flight shows that seek her work (like the Prix de West) make a good argument that $6500 for her drawings is a steal.

     I’ll admit it….the pricing game for a young artist is tough, but I would air on the side of caution.  Get paintings moving, and then slowly start to increase your price.  When you’ve no inventory and a backlog of collectors, then you can write your own ticket. 

Content and "Among The Workers" © Mark Kohler Studio.

"Harold Holden" © Carrie Ballantyne.

The Ugly Underbelly Called Framing

      I’ve spent the better part of two days cutting moulding and gluing joints to make frames for 26 new works---all due by Thanksgiving!

     This is where the glamour ends and the grueling, knuckle-grinding work begins.  So this situation begs the question that artists must ask themselves…. How will I handle the framing of my work?

     The avenues are many, but when you break it all out there’s a big fat fork in the road that requires a decision.  Will I frame my own work?  Or, will I pay a professional framer?  One decision requires an investment in equipment and supplies, while the other requires more cash outlay to a professional.  Self-framers can execute their vision and meet their quality standards without the middleman.  However, sending out your framing gives you more time to produce.

     I like being in charge of my framing, but I don’t enjoy the process.  Framing is hard work and I don’t slight the professional for his time and profit.

     The reality of your circumstances will be the true barometer of your decision.  If you’re working out of an apartment with two bedrooms, a frame shop isn’t a reality, so start looking for a pro.  In my case, I live two hours from a major city and the remoteness dictates that I am better off building my own frames.  UPS delivers everything to my frame shop, and I figure the framing time into my final deadlines. 

     I have a separate space that is dedicated to framing, and I have a system for framing that has been developed over many years.  This process has been a consistent plus for our business. 

     I think next week I will frame one painting as a demonstration, from beginning to end.  This way you can see the underbelly of the framing beast and make an informed decision.  

All content and images © Mark Kohler Studio.

What's In A Studio?

     I just paid 15 bucks for a magazine!  My wife/bookkeeper/money managing, keep my ass out of trouble, art pard gave me a sideways look.  Fifteen bucks?!?  Really?!?

     The magazine addressed THE STUDIO, and here’s the way I see it.  By looking at other artist’s workspaces, I think we generally fall into one of two categories.  The Spartan, organized type…. And the more Mark Kohler types.  Some are show pads, while others are strictly working environs. 

     Seeing how others work starts my wheels turning.  I realize a couple of important things about other working artists: 1) they surround themselves with good art (their own and other artists) and 2) many have their book collection incorporated into their workspace.  Inspirational items abound; drawing easels, still life items and art materials are scattered throughout the space.   Common furnishings seem to include favorite chairs, antique taborets, and battle-scarred worktables.

     I’ve worked at this craft for 16 full-time years and just got a “designated” studio two years ago.  When Pam and I lived in Sabinal, TX, we made due for 7 years in a 10 x 12 extra bedroom, but it was a studio.  Don’t ever slight your work environment.  If great art is produced there, who cares if it is from a spare bedroom or the corner of your living room? 

     I think, with our artist egos, we are guilty of wanting to project a perfect image for our collector base.  The most stressful time for us can be when they want to visit our workspace.  If a collector is looking for a tearoom with biscotti, chocolate truffles and 20 foot, north-facing glass panels with electronic window treatments, then they will be sorely disappointed.

     Most collectors aren’t that shallow.  They are interested in you.  So allow them in and get to know them.  They might just become some of your closest friends.

     My studio appearance runs in cycles; from spotless to a certifiable wreck.   I work in a frenzy for several paintings, and then I reach a point where I can’t function without stopping to clean and reorganize.

     I want my workspace to be inviting to others, but 99.9 percent of the time, it’s just me and Pam pushing against the grindstone.

     So what does this all mean?  Build the workspace that allows you to do spectacular paintings.  Make it functional first, then start laying on the icing.  No matter where you are in your artistic journey, you must make your workspace “special”.  Make it fit your needs and your personality.

     I have a collector, and good friend, in Houston whose passion is quilting.  I affectionately call her “the sewing nut”.  She invested heavily in her workspace because she enjoys her craft and the process.  I’m completely blown away by the functionality and ergonomics of the room.  She left nothing unplanned or to chance.  It shows in her final product…. Her quilts are beautiful!

     So, if you’re bored with your surroundings, check out the “Studios” issue of American Artist magazine, on the newsstands now.  It will be a great inspiration.  And with great inspiration, comes great art.  And that $15 will be well spent.   

Thoughts Are Things

     Remember that “Old School” talk we had last week?  Now I’m going to really out myself.  Today’s post is about a book I feel people who are pursuing a passion must read.  First published in 1937 by Napoleon Hill, the book definitely qualifies for “Old School” thinking.  Many of my friends accuse me of being a pessimist.  Actually, they mistake my direct opinion and forward nature for a “doom and gloom” attitude.   I consider myself a realist.  I’m a firm believer in “good stuff in”—“good stuff out”.  That’s where Think and Grow Rich comes in.

     For a person who is pursuing their passion, Think and Grow Rich is the Alla Prima (by Richard Schmid) of “positive thought” books.  It gives you the tools to follow your passion and persist in the face of overwhelming odds.

     A close friend of my father first gave me this book.  His name was Brue Alford, and he was a successful man by any measure or standard.  Brue would accept you where you were, but he had a way of moving the expectation bar higher, and wanting you to achieve that mark.  However, he did it with the kindest and most sincere motivation I have ever seen.

     You know how much I lean on The War of Art by Stephen Pressfield.  With these two books, an artist has the essential information needed to trudge on when things get tough.  Being a full-time artist demands not only your time (and lots of it, at that), but it makes demands on your soul.  If you fail to put your soul into your painting, the collector will see right through you, not to mention your art peers.

     Think and Grow Rich has chapters that start with Desire, Faith, Imagination… just to name a few.  This book was made for dreamers.  It was made for us!

     I won’t give you a blow-by-blow critique, but I do want to give you one of my favorite stories from the book.  It’s in the chapter, “Thoughts are Things”, with the subhead “Three Feet From Gold”.  This section has but a few paragraphs and is a small story to illustrate one of the most common causes of failure, which is QUITTING when we are overtaken by temporary defeat.

     To summarize, a man named Darby got caught up in the Gold Rush in Colorado.  He struck a large vein, bought a drilling machine and went to work.  After one mining cart was filled with gold, the vein ran out.  Darby drilled on and wasn’t able to locate the vein.  HE QUIT and sold his drilling machinery to a junk man for a few hundred dollars.  The junk man, not satisfied with the end of the story, called in a mining engineer.  The engineer quickly determined that Darby wasn’t aware of a fault line that moved the vein.  The vein was located 3 feet from where Darby had stopped drilling.  The junk man retired a millionaire.

     I think this analogy applies to many young artists.  How many quit or toss in the towel after a tough show or failed painting?  How many say, “I can’t draw” or “I’m just not a natural with color”?  You only fail if you quit.

     Sure, Think and Grow Rich is old and outdated, and I bet Oprah has some young new talent who would have us Zen our way to success, but I’m “Old School”, so I’ll be just fine with Andrew Carnegie and Napoleon Hill, if you don’t mind.  Give them a try!


In celebration of my 100th post today, I would like to offer a free coffee table book of my work to the person who posts the most inspiring comment.  I appreciate all of you who come to this blog to read whatever ramblings, masked as pearls of wisdom, that I decide to share each day.  I appreciate you all!


All content © Mark Kohler Studio.

I Think Galleries Have A Big Problem

     In my opinion, galleries just don’t get it, and I dare say galleries are thinking, “Generally speaking, artists just don’t get it.”  Perspective is everything.  Please don’t get me wrong.   This isn’t a rant about galleries.  Instead, I’d like to tighten up the focus and delve into the Artist/New Media relationship.

     I admit that I was a latecomer in jumping on this train, but the importance of this new direction hit me squarely between the eyes, when I took a critical look at the music industry. 

     For years, the major labels, just like in Vegas, held all the cards and owned the dealer.  Then seemingly overnight, the customer could go to Itunes and pay $1 to get the one good song that had previously cost him $19, when he had to buy the whole album or CD.  And now you could skip the other 14 songs on the CD that you never listened to anyway.

     I believe that very soon the musical Artists will detour the Music Label Machine altogether.  Check out Kid Rock’s marketing savvy.   He’s even bypassing Itunes and selling his music himself!

     So where do we fit in?  Well, using the internet and our websites seem pretty much unchanged.  However, we now have ways to drive or funnel art appreciators to our website images without magazines or galleries.

     Facebook allows an inquiry to become a “Friend” and allows the artist to converse in a very casual manner with appreciators of your work, your lifestyle and your vision.  They are very serious about deterring the hocking of your wares, so you need to get out of a business model and into a casual conversation model.  Facebook is for meeting new people and introducing yourself.  They will find their way to your website, where your work will speak for itself.

     So what’s the future?  I’m sure it will change many times in the coming years.  Google ate Yahoo, and Facebook ate MySpace.  YouTube is the second largest search engine, behind Google.  Things change fast in the New Media.  Keep your eyes open and look for the next thing.  It will come at some point and you need to be prepared to jump aboard.

     But I think the galleries need to rethink their business model.  It’s showing signs of becoming antiquated and I see no indication that gallery owners or art magazines are aware of the paradigm shift that has taken place.  This New Media train is coming fast.  Figure out how to get on!   

All content © Mark Kohler Studio.

   

You Can't Mix Work and Play

     I know the title of today's blog post sounds trite and trivial, but in this case, it’s the truth.  When it comes to procuring research material, the time spent behind the sketchbook and camera are, I find, the most fruitful, next to actual painting time.

     However, in my case, the temptation is to always leave my work behind and saddle a horse and be with the cow crew, or load my gun and head out with the bird dogs and shooters.  It’s easy to forget that I’m there in a professional role and my purpose is to gather images, not partake in the proceedings.  In both cases it requires a strict discipline to leave the gun and saddle in the truck.

    But, Mark, you might ask, “Aren’t the best images where those guys are?”  Yes and No.  It requires looking at the opportunity you’re given and trying to make an informed decision.

     I’ve learned that big gathers rarely translate into spectacular images, but once in the branding pens, or when horses are being roped, it usually means there are photos everywhere.  You’ve got to be where the action is, but once there, you should slow down and look for good vantage points and good subjects.

     Trying to shoot from horseback while gathering generally results in a poor composition, unless I pull away from the activity.  I am usually wary of creating a distraction to the cattle, so in my opinion, it’s better to wait for a more controlled area, like the pens. 

     It’s very much the same for shooting birds and hunting scenes, or fly-fishing subject matter.  I’ve discovered that trying to shoot birds over a dog with a camera is just not enjoyable for me.  So I much prefer to walk away from the subjects and start looking for paintings.  If I’m moving around pointing dogs, it isn’t a problem like moving around cattle.  And shooting images for fly-fishing paintings is the least imposing of all.  I’ve had good luck shooting fishermen without treading into their space at all.

     There’s a time to participate and a time to ply your craft.  Be a professional and get your work done, without getting in the way.  There will be a time to play on most every trip.  If the ranch needs you to work on the ground, then set the camera down and pull your weight.  (Or in my case, I send Pam into the fray---she has her own stories to tell!)

     Generally speaking, most of my photo gathering requires a lot of money, effort and travel, and is subject to conditions over which I have no control.  If the weather doesn’t cooperate, there is little I can do about it.  But when opportunity knocks, and offers good images, it’s time to get to work and act like a pro.  

All content and images © Mark Kohler Studio.

 

"How Long Does It Take To Do A Painting?"

      Have you ever heard the “Picasso Napkin Story”?  It goes something like this ….. Picasso is sitting in a Paris café, when a woman and admirer of his work approaches.  She asks if he would do a quick sketch on a paper cocktail napkin.  Picasso politely agrees and deftly executes a one-minute sketch.  While handing it to the woman, he asks for a rather significant sum of money.

     The madame is shocked!  “But sir, how can you ask such a princely sum?  This drawing only took one minute.”  Picasso quickly reclaims the sketch, and replies, “Madame, this sketch has taken me 40 years!”

     Picasso makes a great point.  What we should learn from his witty remark is this:  the time you’ve invested in a specific painting is the length of time to finish that painting plus the number of years you’ve logged in perfecting your craft.  Many, and I dare say most, collectors haven’t considered this point.  The price is relative to the time spent.

     Your collectors have no idea how much you have invested in art school, studio equipment, art supplies, frame shop equipment, art booth, art trailer, art books, trade publications, workshops and everything else I can’t think of right now.  I think if I liquidated just my store of watercolor paints and brushes, I could probably pay off a small country’s debt---at least Zimbabwe’s!

     I would also caution you that it’s really not the customer’s fault.  Many galleries use the square-inch measurement method to influence their artists’ pricing of their works.  In my opinion, this is an artificial process.   An elaborate 8 x 10 painting may have taken you four days to paint, while an 11 x 14 vignette could have taken half the time.  This tells me that many galleries don’t comprehend what it takes to produce a piece.  They have a slanted frame of reference to measure from…. namely, the sale.

West of Paulden

  

     Therefore, the question “How long does it take to do a painting?” must be met with careful consideration.  I think it is better to err on the side of longer than shorter, simply because of the perception that time should determine price. 

     It bothers me to hear artists say they knocked out two paintings before lunch and will complete two more before day’s end.  Can this really be quality work, deserving of the price they are asking?  This is a bit of an exaggeration, but we all know the type.

     My advice to you is this:  Take pride in the amount of time you’ve invested in your craft.  Your final product reflects your time and your soul.  Ultimately, the square inch, or the number of minutes to completion, should not dictate the price.  Your finished painting is a culmination of your vision, your experience and your sweat.   Only you can set the value of your work.  Treat it with respect.

Content and West of Paulden © Mark Kohler Studio.

      

You Gotta Learn To Get Your Ass Handed To You & Still Act Like A Pro

     You may or may not know that I’ve spent the past two weeks on a big loop around the cowboy epicenter out West.  I logged 4,967 miles traveling to Wyoming, Montana, Nevada and back to Texas.  Part of my trip was Cody, WY, where I was invited to exhibit at the Buffalo Bill Museum Art Auction.

     This event centers around the Buffalo Bill Museum and is an invitational art auction, along with a Quick Draw event.  The Museum Board and Coordinator were first class and they really cater to their artists, which is not always the case.  I am truly honored to participate in such a prestigious event. 

Kickin' Em Off Top

     I sent four paintings to this event and felt very good about the quality of the work that I submitted for the auction.  Not knowing what to expect and being the newcomer are tough, but every show must have a starting point from which to make progress.  This is where I’m guilty of losing my perspective.  I forget that every show and group of collectors is unique and this event was no different.

     My main piece came up about mid-way through the auction, and I was a bundle of nerves when the auctioneer started.  Checking your artistic ego at the door is tough.  I tried to run Pressfield’s advice through my head . . . “Be a pro.  Be a pro.”  But to be honest, I was initially disappointed with my final sale price.  I’m terrible at masking my feelings---it’s there for everyone to see.  I left the auction feeling I had shortchanged the event and myself.  I kept repeating the scenarios in my head.  Is the size of my painting wrong?  Did I set my reserve too low?  Maybe my position in the auction wasn’t helpful?  The eternal search for how and why I dropped the ball eluded me!

     Saturday morning Pam and I left out early to grab a good spot for the Quick Draw event.  (Each artist has one hour to start and complete a finished painting and frame it for the Quick Draw Auction.)  I have to admit that this event is self-inflicted high pressure for me!  I arrived early so that I could gain access to one of the electric outlets so I could use my dryer during the one-hour painting.  It was the only way I could guarantee a finished painting in that time span.

     The bell rang and I dove into my Quick Draw with abandon.  I admit that I am not a great “fast” painter.  My friend and fellow artist Michael Ome Untiedt lives for painting in Quick Draws.  He chats with the crowd, frolics with small children and somehow knocks out a spectacular one-hour masterpiece.  Me?  Not so much. 

     I do Quick Draws like I’m in a Hitchcock movie.  Initially I try and block out the world.  But then I get that weird zoom out, zoom in vertigo feeling….Holy Crap!  There’s 50 people watching me and they want to chat!  I’m so in the painting zone that I don’t realize that the thumping on my arm is Pam trying to introduce the collector who bought my auction piece the night before.

Low Down & Nasty

     I do my best to express my appreciation while trying to mix the perfect buckskin horse color.  I’m beginning to feel totally disconnected, distracted, and, yes, even a little frustrated. THEN SHE SAYS IT!  “This is the first original painting I’ve ever bought.  I’ve never had the desire to own art, but I was so moved by your piece, that I bought it.”

     Well, it’s like applying brakes on a train!  I thank her and Pam moves in to offer her a copy of my book in appreciation.  This allows me to continue with my painting, but as I stop and take the time to realize just how moved this woman was by my painting ….. Well, it was the moment that I needed.  Our efforts aren’t always about us.  When I looked back with a different, more clear perspective, I knew I had some things to consider:

1.   There were 15 pieces that were "no bids" during the auction.  I wasn’t one of them.  This in itself is a huge success.

2.   My painting had a buyer who was moved by my efforts.  That alone was worth the experience.  And she could become a repeat collector.

3.   I sold all 3 of my other paintings.  You should never lose total perspective.  I was the new guy, yet I still received many new buyers who are just discovering my work.

4.   The Event Coordinator, Kathy, was a gem of a person.  She really does appreciate the efforts of the artists, and lets them know it.

     So, I sum up this blog post with a classic axiom:  “Do what I say, and not what I do.”  Art is not an easy road, and there will be days she politely hands us our artistic asses.  We must keep our wits about us and focus on the little victories.  Although I’ve been at this business for over 16 years, I still must remind myself of these important considerations.  Each new show and experience has something to teach us.  Embrace it all!

All images and content © Mark Kohler Studio.